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<p>Sagara Seydou 3: /* Sagara Seydou */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> '''Zhu Ziqing'''<br /> <br /> A third example, where an author shows another face in his essays is Zhu Ziqing. He is known as the author of the most often reprinted story-like Chinese essay &quot;''Back View''&quot; (Beiying), a standard school text. The success of this essay lies in the fact, that it applies to filial pity. From the reported fare-well scene with his father at the train station, he learned that his father loved him and that he had grown-up too now. <br /> ==Chang Huiyue 常慧月==<br /> This self-reflective essay helped Zhu to find himself through the observation of the other (here his father). The 2nd often printed essay is also from Zhu. Parallelistic and repetitive structures are the driving factor in the atmospherical nebulous lyrical landscape desription &quot;''The Moonlit Lotus Pond''&quot;, whose style easily may seem mannerist to the Western reader.<br /> <br /> Zhu Ziqing supposedly opposed all political engagement and, wrote about unspectacular things. In Taiwan he became a type of substitute for the categorically refused state writer of the People’s Republic, Lu Xun, mainly because of Zhu’s supposed political independence.<br /> <br /> 通过他人的观察（这里主要指朱自清的父亲），这篇自我反省式的文章帮助朱自清认清了自己。经常出版的第二版本也来自朱自清。“荷塘月色”中描述的天空星云，抒情般的景色是通过平行结构和重复结构中展现出来的，这种风格使西方读者很容易辨别。<br /> <br /> 据称朱自清反对一切政治参与，只写不引人注意的事情。在台湾，主要因为朱自清的所谓政治独立，他因而代替了明确反对民国的作家鲁迅。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 14:33, 27 December 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> I would like to show with three examples that Zhu had absolutely clear political ideas: He had taken part in the demonstration March 18, 1926, which ended in a massacre. Zhu described this in ''&quot;Report On the Massacre of the Government''&quot;[ (Zhizhengfu da tusha ji).].<br /> <br /> ''Shots were still being fired, and the entrance of the east gate was packed with people. [...] Pushing and shoving, we climbed over them with great effort. We must have lost our senses then, not seeing, to our shame, the grotesqueness of our action. ''<br /> <br /> 我想用三个例子说明，朱自清有绝对明确的政治思想。1926年3月18日，他参加了示威游行，这场游行最终以屠杀告终。朱自清在《执政府大屠杀记》中对此进行了描述。<br /> <br /> ''这时枪声未歇，东门口拥塞得几乎水泄不通。[...] 我们便推推搡搡，拥挤着，挣扎着，从他们身上踏上去。那时理性真失了作用，竟恬然不以为怪似的。'' --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 26 December 2020 (UTC)<br /> <br /> ==Chen Hui 陈惠==<br /> ''[...]I was still walking on top of the people. No one dared to miss a single step, filing through the gate that divided safety from danger, one that would give us life or take our lives away. [...] My efforts finally brought me down to the ground, sealing my fate as I rolled down from the human pile. [...] I learned later that some of the people by the gate were dead, killed by the pistol squad firing from the other side of the gate. When I recall stepping over dead bodies, I cannot help but tremble with fear. [...]''<br /> ==Chen Jiangning 陈江宁==<br /> From this experience, Zhu addresses directly the repsonsible political leaders:<br /> <br /> ''Duan Qirui, you must think about it! [...] How could we explain this to the world? [...] Granted, Duan Qirui and others could commit such atrocities without a thought; but how could we, the people of China, face the world with such a shameless government? [...] We, [...], must ask, „So many were killed—what should we do?“''<br /> 经过这次经验，朱直接给负责相关部门的政府官员写信道：“段祺瑞，你好好想一想！[…]我们要怎么跟世界人民解释？[…]当然了，段祺瑞和其他士兵不用想都会承认这次的暴行；但是，我们，作为中华人民共和国，怎么能以这样一种无耻的政府面对世界？，[…]我们，[…]必须要问，这么多人牺牲了，我们应该做什么？”--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 15:11, 27 December 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> In contrast, Lu Xun has portrayed the same massacre with sighing undertone and Zhou Zuoren bitter-humorously in his &quot;''Ways to die''&quot;[ (Si fa).] - in which he finds &quot;to be shot&quot; the best method to die. The supposedly less politically engaged Zhu shows here more engagement.<br /> <br /> The essay &quot;''Facing the New China''&quot;[ (Xin Zhongguo zai wang zhong).] is Zhu's political manifest: He asks for democracy, enlightenment and an increase of the education level.<br /> ==Chen Jingjing 陈静静==<br /> ''China has to be born again through democratization. [...] The people should express their own will, concentrate on their own strength. Every level of administration should build up on the expressed will and strength of the people and struggle for the majority and its greatest happiness. This means that the people govern, the people own, the people enjoy.''<br /> <br /> A few weeks before his death, he demanded in the speech ''&quot;Today's duty of the Intellectuals''&quot;[ (Zhishifenzi jintian de renwu).] the participation of the intellectual in the struggle for a better society.<br /> <br /> “中国必须通过民主化重生。[...]人们应该表达自己的意志，集中自己的力量。各级行政机关都应该建立在人民的意志和力量的基础之上，并且为大多数人及其最大化的幸福而奋斗。也就是民治，民有，民享。”<br /> <br /> ”中国必须用过民主化重生。[...]人们应当表达他们自身的意志，集中力量。各级政府都应建立在人民意志和力量基础之上，并为大部分人民及其最大幸福而奋斗。也就是民治、民有、民享。”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:15, 27 December 2020 (UTC)<br /> <br /> 在他去世的几周前，他在 “知识分子今天的职责”的演讲中要求知识分子参与建设更好的社会。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 11:31, 27 December 2020 (UTC)Chen Jingjing<br /> <br /> ==Chen Sha 陈莎==<br /> With only a handful of essays I have demonstrated, that the picture of these three authors changes substantially, if we read carefully also their less known essayistic work. Imagine now how the picture of 20th century Chinese literature might change, if the literary histories and anthologies would not only tell the history of drama, fiction and poetry, but would also grant the essay its proper place. The following part of my paper are results of my monograph on the 20th century Chinese essay.<br /> ==Chen Sunfu 谌孙福==<br /> '''The essay boom as a mirror reflecting growing individuality, participation in the public sphere, and the giddy-paced character of modern Chinese society'''<br /> <br /> Acquiring an overview of the essay and assessing its essence has required extensive research in bookstores and libraries, in the People's Republic of China, Taiwan, Hong Kong and the United States for available resources in the form of essay book collections as well as secondary literature dealing with the essay. <br /> ==Chen Yongxiang 陈永相==<br /> I built a database for a statistical analysis to rank more than 5000 essays and 1400 essayists. It turned out that out of the top 60 most famous Chinese essays only 14 had been translated into English so far. The forthcoming collection of Tam King-fai adds 4 and my own one the remaining 42.<br /> <br /> Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report[ (baogao wenxue) (Klaschka 1998).].<br /> <br /> 我建立了一个用于统计分析的数据库，对5000余篇散文和1400名散文家进行排名。事实证明，迄今为止，在中国最著名的60篇论文中，只有14篇被翻译成英文。 谭景辉即将出版的散文选集另有新翻译的4篇，我自己则翻译余下的42篇。<br /> <br /> 分析表明，自1979年以来，总体上来说，散文发表有所增加，在“文化大革命”之后还出现了两次热潮，在1990年达到了新的高度。首次增加出现在20世纪20年代和30年代，此后便被报告文学所取代（Klaschka 1998）。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:41, 27 December 2020 (UTC)<br /> <br /> ==Cheng Yusi 成于思==<br /> The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous essay bookseries[ sanwen congshu 散文叢書.].<br /> <br /> The reason for the increase in essay production, which we can date right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in the sampling of 130 ‘representative’ books I was able to collect for the survey. There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s: <br /> ==Deng Jinxia 邓锦霞==<br /> 1, The giddy-paced nature of current Chinese society with its demands for diverting and short texts, as Hall has put it: “[...] we live in an age of exposition”[ (Hall 1984:xiii).].<br /> <br /> 2, The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands. <br /> <br /> 3, A revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.<br /> <br /> 1，当前中国社会的快节奏需要分篇和短篇文本。正如霍尔所言，：“ ......我们生活在博览会时代。” [（Hall 1984：xiii）]。<br /> <br /> 2，对于正在增强的个人意识来说，散文是主观表达的最直接形式，甚至比具有韵律和形式要求的诗歌更直接。<br /> <br /> 3，通过散文讨论社会政治问题的兴趣的复兴，就像1920年代/ 30年代那样。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:35, 27 December 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> If we look carefully at essay collections not only published in the United States, but also in Hong Kong, Taiwan and the People’s Republic, we find the following three reasons for the under- and overestimation of single essayists or essays which correspond to regional differences:<br /> <br /> 1, EXOTIC In the United States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.<br /> <br /> 如果我们仔细观察在美国出版的，以及在香港、台湾和中华人民共和国出版的散文集，我们会发现以下三个原因导致人们低估和高估了回应地域差异的单个散文家或散文: <br /> <br /> 1、异国情调 在美国，散文往往是根据西方人的口味来选择的，完全不知名的作者和老牌作家拥有一样多的空间。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:37, 26 December 2020 (UTC)<br /> <br /> 如果我们细细研读在美国出版的，以及在中国香港、台湾和大陆出版的散文集，我们会发现以下三个原因导致人们因地域差异而低估或高估了某些散文家或散文: <br /> <br /> 1、异国情调 在美国，散文往往是根据西方人的口味来选择的，名不见经传的作者和著名的作家拥有同样多的市场。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 26 December 2020 (UTC)Mo Ling<br /> <br /> ==Fang Jieling 方洁玲==<br /> 2, SOCIO-POLITICAL In Taiwan, Lu Xun has been banned for a long time, but today, as the mentioned survey proofs, he ranks 12th among modern authors there. Wang Meng has been overestimated in the People’s Republic of China due to his political post.<br /> <br /> 3, PERSONAL Hong Kong literature on Yu Guangzhong has been censored by his disciple Huang Weiliang in favor for Yu.[ (see Lin Yaode 1989:50).]<br /> <br /> Having named reasons for the essay boom and for the support for and the suppression of different actors in the cultural field of the essay, I would like to finish my paper by naming a few trends of the essay as they appear at the eve of the century.<br /> <br /> 2、社会政治 在台湾，鲁迅被禁锢了很久，但如今，如上述调查证明，他在台湾现代作家中排名第12位。 在中华人民共和国，王蒙因其政治职务而被高估。<br /> <br /> 3，个人 在香港 关于余光中的文学被他的弟子黄伟良检查和删节，他是赞成余光中的。（见林耀德1989：50）。<br /> <br /> 在列举了一些关于论文热潮以及在论文文化领域中对不同行为者的支持和压制的原因之后，我想通过列举几世纪前夕出现的一些论文趋势来结束我的论文。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 14:51, 27 December 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consumer-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be &quot;art pourt l'art&quot;.<br /> <br /> 政治散文的主题从1907年兴起的启蒙教育散文转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影）都在讨论最佳社会制度，于是有关政治问题的主题复兴，但20世纪90年代时，主题又变成了非政治性，更加哲学道德的主题范畴，那会，散文家们首先对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:42, 27 December 2020 <br /> <br /> 政治类散文的局部发展从1907年兴起的启蒙教育类转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影中）对于最佳社会制度的探讨使得政治话题再次变得火热。但20世纪90年代时，写作主题又转向非政治性，以及更加哲学道德的范畴，那会，散文家们首先会对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:53, 27 December 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (&quot;''On dreams''&quot;[ &quot;Shuo meng 說夢&quot; On dreams in: Zhu Ziqing 1928.]) and Zhou Zuoren from 1917 (&quot;''My own garden''&quot;[ 9.1923.], &quot;''The Fly''&quot;[ 1924.], &quot;''Reading on the Toilet''&quot;[ 1936.]), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the newly encountered world of mass consumerism.<br /> <br /> 非政治类文章的局部发展始于朱自清以及周作人1917年开始写的每日随想（朱自清1928年发表的散文《说梦》；周作人1923年发表的《自己的园地》、1924年发表的《苍蝇》、1936年发表的《入厕读书》）。自1927年的修正，政治类文章成为主流，直到20世纪30年代末期，非政治类文章因为抗日战争的爆发完全消失。直到20世纪70年代，人民生活回归正常，非政治类文章才重新现世，由于消失太久，日常琐事成为当时热门的写作话题。20世纪90年代，由于政治话题热度的下降以及进入新时代为迎合广大群众而开发新话题的需要，非政治类文章又迎来一次高潮。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:46, 27 December 2020 (UTC)<br /> <br /> ==Gong Yumian 龚钰冕==<br /> In the end of this century not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. Among the upper list places of the political essay after 1949 there are critical essays. For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.<br /> ==Gu Dongfang 顾东方==<br /> A sign for the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation for customers (former: &quot;readers&quot;). Following the emotional essays of Zhu Ziqing who rank 1st and 2nd, ''nostalgia'' is the element of emotional identification in &quot;''Wild vegetables of my home region''&quot; by Zhou Zuoren, which ranks 3rd[ In Jia Pingwa's &quot;Moon traces&quot;, which ranks 11, and in Ba Jin's &quot;''Paradise for Birds''&quot;, which ranks 19]. Therefore one can state, that moving essays form the top.<br /> ==Guan Qinqing 管钦清==<br /> In 1927, Chinese literature took the form of 'engaged literature'. In the 1980/90s, the discussion of politics in daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. In the later half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. <br /> ==Gui Yizhi 桂一枝==<br /> In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only remiscent element left is the patriotism.[ ''Trends like the use of ordinary language'', which one finds in novels since 1993 (''Jia Pingwa'', Feidu; ''Gu Cheng'', Yingger) and New Borderlessness since 1995, cannot be proven in the essaywriting.The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable ''object d'art''.]<br /> <br /> 上个世纪90年代，80年代的政论文随笔文化逐渐隐没了，唯一剩下留有想象空间的元素就是爱国主义。[“比如使用普通语言的趋势”，这是从1993年以来在小说中发现的（“贾平凹”） 费杜，古格，英格）以及自1995年以来，《新无边际》都无法在论文写作中得到证明，我们之所以没有找到后现代小说意义上的后现代散文，是因为文章的直接性：随笔作为一种体裁，是作者和读者之间的对话，而不是想要引起不同解释的原因或可能依赖于特殊形式或内容甚至是按顺序引用前现代特征的艺术品，这使它成为一个与众不同的“艺术品”。]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 13:06, 26 December 2020 (UTC)<br /> <br /> '''References''' [partly mentioned with German translation] （不用翻）<br /> <br /> Vera Schwarcz 1996, Vera Schwarcz, &quot;The pain of sorrow: public uses of personal grief in modern China&quot;, in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)<br /> <br /> Ba Jin 1982, Ba Jin: &quot;Yi feng huixin 一封回信&quot; (Ein Antwortbrief (26.10.1982)), in: Bing zhong ji 病中集 (Auf dem Krankenlager), Hongkong 香港 1984(?) (Series Suixiang lu 隨想錄 (Thoughts) Bd 4), 147 pp.<br /> <br /> Ba Jin 1982a, Ba Jin: &quot;Yi pian xuwen 一篇序文&quot; (Ein Vorwort) [dated 1982.9/10], in: Ba Jin: Auf dem Krankenlager 1984<br /> <br /> Ba Jin 1956, Ba Jin 巴金: &quot;Duli sikao 獨立思考&quot; (Unabhängig denken), in: Li Jisheng 李濟生, Li Xiaolin 李小林 (Hgg.): Ba Jin liushi nian wenxuan (1927 - 1986), Suixiang lu, zagan, sanwen, xuba, yanjiang, shuxin 巴金六十年文選（１９２７－１９８６）隨想錄·雜感·散文·序跋· 演講·書信 (Ba Jin. Werkauswahl aus 60 Jahren (1927 - 1986), Gedanken, vermischte Gefühle, Essays, Vor- und Nachworte, Reden, Briefe), Shanghai 上海: Shanghai wenyi chubanshe 上海文藝出版社 (Literatur- und Kunstverlag Shanghai), 1986.12, S. 461 - 462 [Datiert auf 1956.]<br /> <br /> Ba Jin 1962, &quot;Zuojia de yongqi yu zerenxin 作家的勇氣與責任心&quot; (Mut und Verantwortungsbewußtsein der Schrifsteller) 1962; der Essay von Zhou Zuoren 周作人: &quot;Wenxue tan 文學談&quot; (Über Literatur), in: Tan long ji 談龍集 (Über Drachen. Sammlung), Shanghai 上海: Kaiming shudian 開明書店 (Kaiming Buchladen) 1927.12, Nachdruck: Hongkong 香港: Shiyong shuju 使用書局 (Praxisverlag) 1972.1, 310 S., S. 165 - 167<br /> <br /> Zhou Zuoren 1919, Zhou Zuoren, &quot;Zuxian chongbai 1919 (Ancestor Worship),&quot; in Early Essays, op.cit., pp. 78<br /> <br /> Zhou Zuoren 1920: Zhou Zuoren 周作人, Xin wenxue de yaoqiu 新文學的要求&quot; (The demand of the New Literature) [lecture], in Beiping shaonian xuehui 北平少年學會 (Beiping youth conference) 1920.1.6, in: Zhang Ruoying 長若英: Xin wenxue yundong shi ziliao 新文學運動史資料 (Material on the history of the New Literature movement), Shanghai 上海: Guangming shuju 光明書局 (Guangming bookstore) (1934.9) ²1936.9, 291-296<br /> <br /> Zhou Zuoren 1923, Zhou Zuoren: Yanzhicao ba (Preface to Yu Pingbo's Yanzhicao), in: Yongri ji (Book of Eternal Day), Shanghai: Beixin shuju 1929, 180-181<br /> <br /> Zhou Zuoren 1929, Zhou Zuoren: Ertong de shu (The books of children), in: Chenbao fukan (1923.8.17)<br /> <br /> Zhou Zuoren yuanliu, Zhou Zuoren: Zhongguo xin wenxue de yuanliu (Sources of New Chinese Literature), p 71<br /> <br /> Zhou Zuoren 1932, Zhou Zuoren: Lun baguwen 1932, in: Kanyun ji p. 148<br /> <br /> Source: NEAAS annual meeting 10/09/1999 New Haven (Yale University)<br /> <br /> ==Guo Lu 郭露==<br /> '''Modern Chinese Literature and the Essay Genre: A New Perspective'''<br /> <br /> ''Martin Woesler''<br /> <br /> In this paper, I will not recount the contents and propose interpretations of any essays, nor will I outline the main topics or styles of essaywriting in China, but I would like to take the opportunity to reflect a little bit on the phenomenon of the genre itself and discuss some conclusions and hypotheses with the attentive and critical audience which can be found at only a few places on earth, EALC at Harvard definitely being one of them.<br /> <br /> 《中国现代文学与散文体裁：以新视角》<br /> <br /> ''吴漠汀''<br /> <br /> 在本文中,我将不再赘述任何文章的内容和提出的观点,我也不会列出其主要主题或风格,但是我想借此机会,反映一些现象本身的类型，并与包括哈佛大学学生在内的观众对一些结论和假设进行探讨。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:16, 25 December 2020 (UTC)<br /> <br /> <br /> 《中国现代文学与散文体裁：新视角》<br /> <br /> 吴漠汀<br /> <br /> 本文将不再赘述或解释任何文章的内容，也不会列出中国散文的主要主题或风格。我想借此机会，反思体裁现象，同乐于助人、至关重要且世间少有的读者，包括哈佛大学东亚语言和文化学院的学生，对一些结论和假设进行探讨。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:28, 25 December 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> '''1. The unknown genre'''<br /> <br /> The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. In my paper I will ask, if the picture of literature can remain unchanged, if we take into consideration also the essay. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90, McDougall 1998);<br /> <br /> '''1.未知体裁'''<br /> <br /> 二十世纪文选和选集里的文学史的叙述对于整个中国文学来说是不完整的：散文题材是缺失的。 在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。 作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:09, 26 December 2020 (UTC)<br /> <br /> '''1.未知体裁'''<br /> <br /> 20世纪选集所讲述的文学历史叙事，描绘了一幅不完整的中国文学图景:：散文题材是缺失的。 在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。 作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:30, 26 December 2020 (UTC)<br /> <br /> '''1.未知体裁'''<br /> <br /> 20世纪的选集和文集所讲述的文学史叙事，勾勒出一幅不完整的中国文学图景。散文的体裁是缺乏的。在我的论文中将要探讨如果我们把散文也考虑进去，文学的图景是否可以保持不变。长期以来，这一文体作为一种优秀的文体被忽视（马古利耶斯1949年，施密特-格林策1990年）或被忽略（麦克诺顿1974年，莱顿1988-90年，麦克杜格尔1998年）。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:23, 27 December 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement. Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.<br /> <br /> 由于自民国初年五四运动确立的总叙事之后，对小说文学的重视和写作的白话化，因而它的系列小说，就一直受到重视。 现代选本会让读者相信诗歌、小说、戏剧这三驾马车构成了中国现代文学创作的主干。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:20, 27 December 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> '''Excursion: Defining the essay as a non-fictional subjective representation in a free form'''<br /> <br /> Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (non-fictional prose)), lyrics (shige) and drama (xiqu). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term &quot;wu yunwen&quot; which corresponds to the term &quot;epic&quot; in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.<br /> ==Hu Baihui 胡百辉==<br /> In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet. The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.<br /> 在抒情诗中，读者被鼓励去感受当下的感觉，并且常常是诗人的忏悔式的感觉。戏剧直接在独白或对话中回忆起一个自足的动作，以这种方式释放了读者/观众重新创造的想象力。散文作为史诗的一种体裁，是一种超脱的、非虚构的、自由形式的主观表现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 02:29, 27 December 2020 (UTC)<br /> <br /> 在抒情诗中，鼓励读者感受诗人当下的感觉，且这种感觉常常是诗人的忏悔。戏剧直接以独白或对话的方式回忆一个自足的动作，并通过这种方式释放了读者/观众再创造的想象力。散文作为史诗的一种体裁，是以自由的形式进行的一种分离的非虚构的主观表现。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:11, 27 December 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> &quot;Essay&quot;, Chinese mostly ''sanwen'', is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Freedom in form and content is essential for the essay.<br /> <br /> “散文”，中文主要是“散文”，是一个较短的、独立的非虚构散文文本的体裁术语，作者试图从主观的角度调解个人对一个对象或问题的体验。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。资源由散文家自主掌握，主题在更大的背景下被看到，甚至可以幽默地呈现。文章在形式和内容上的自由是必不可少的。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 13:22, 27 December 2020 (UTC)<br /> <br /> “散文”是一种体裁术语，在汉语中也叫做“sanwen”，指篇幅较短、自成一体的非虚构散文文本，散文创作者可以从主观的角度，将个人的经验调和到事物或问题上。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。文章素材由散文家自主掌握，主题可以置于更大的背景之下，甚至可以一种幽默的方式呈现。散文的形式和内容都是自由的。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:36, 27 December 2020 (UTC)<br /> <br /> “随笔”，中文名多为“散文”，是一种体裁术语，指篇幅较短、自成一体的非虚构散文文本，作者试图从主观视角来调和个人对对象或问题的经验。<br /> 散文试图从不同的方面进行联想，它不是作为日常使用的文本，而是作为艺术或教育要求的语言方式，虽然如此，还是以一种可理解的方式呈现。<br /> 资源由随笔作家独享，话题可以在更大的背景下展出，甚至可以幽默地呈现。形式和内容的自由对这篇随笔至关重要。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 14:38, 27 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, a subcategorization in numerous small entities, like Zheng Mingli does with the essay, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.<br /> ==Ji Tiantian 纪甜甜==<br /> Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems. All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.<br /> <br /> 地域差异对散文的影响似乎不如对已确立的文体如短篇小说、小说的影响大，也远不如对诗歌的影响大。除散文外的其他文体被视为国际文体。我认为中西方散文也属于相同的国际文体，跨文化的相互作用也许可以在形式和内容上证明这一假设。<br /> <br /> 对于文章而言，比起短篇故事，小说等已存的体裁，区域差异似乎不那么重要，对于诗歌而言，区域差异更不重要。所有这些其他的体裁都被看作国际体裁。中国和西方的文章都属于同一国际体裁，这一假设也许可以通过形式和内容上的跨文化相互关系来证明。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 15:27, 27 December 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. This is a second hint that the modern Chinese essay belongs to the international genre of the essay.<br /> <br /> 在21世纪，世界共同发展，文化主要决定于现代化的水平。今天我们在刊物上看到的中国散文，已经具备了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文属于国际散文类别的第二个暗示。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 07:58, 25 December 2020 (UTC)<br /> <br /> 在21世纪，世界上的国家趋向于走到一起，而文化则主要取决于现代化水平。正如我们从现今报纸里面看到的那样，中国散文采用了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文开始趋同于国际散文体裁的第二个标志。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:27, 25 December 2020 (UTC)<br /> <br /> 21世纪，世界在共同成长，文化主要由现代化程度决定。我们今天在报纸上看到的中国散文，在形式和内容上都与西方散文相似，其目标群体也与之相似。这是中国现代散文属于国际散文的第二个暗示。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:44, 26 December 2020 (UTC)<br /> <br /> 在21世纪，世界共同发展，文化主要决定于现代化的水平。我们今天在报纸上看到的中国散文，已经呈现出西方散文的形式与内容，并且其目标群体也与西方散文不相上下。这是中国现代散文属于国际散文体裁的第二个迹象。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:17, 26 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 1992 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay).<br /> <br /> 尽管人们普遍接受用短小故事来翻译短篇小说，但两者的关系不如西方的散文和中国的同类文章密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)<br /> <br /> 尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系并不如西方散文与其中国同类文章密切。这个定义是我从5000多篇中国现代散文样本中得出的，也符合国际上对散文的特殊理解（继博尔兹于1992年 13:269-272 论西方散文的发展；布特莱姆于1989年论西方散文的理论）。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:34, 27 December 2020 (UTC)<br /> <br /> 尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系不如西方的散文和中国的对应定义密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 15:35, 27 December 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it &quot;Chinese&quot;? In the occidental essay the form seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework.<br /> <br /> 除了首先由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文有独特本土的特征。中文散文如何形成其特有文化，其中文性又由何组成？和中文散文相比，西方散文的文章形式似乎是更重要的分类标准。在中国，甚至有些文章内容相似，但形式和类别大相径庭。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:06, 25 December 2020 (UTC)<br /> <br /> 除了最初由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文具有独特的本土特色。中文散文如何形成其特有文化，其中文性又由何组成？与中文散文相比，西方散文的形式分类标准似乎更重要。在中国，有些文章甚至是内容相似，但形式和类别大相径庭。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 25 December 2020 (UTC)<br /> <br /> 除了周作人提倡采用英语散文风格所体现的全球化社会趋势外，中文散文还具有独特的本土特色。中文散文如何在文化上定义，其中国性又是什么？在西方文章中，形式似乎是比中国文章更重要的区分标准。在中国，甚至包括那些只有类似内容，却跨越了形式上的属相框架的文本。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:05, 27 December 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> This can be shown with Zheng Mingli, who subcategorises the &quot;unfinished diary&quot; or the &quot;unfinished letter&quot;. Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Zheng Mingli: &quot;essay in diary form&quot; and &quot;essay in letter form&quot;), they are accepted as essays. <br /> ==Kang Lingfeng 康灵凤==<br /> '''The Chinese understanding of the genre is tendencially broader'''<br /> <br /> This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén'' &quot;non-rhythmic prose&quot;, which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning &quot;short literary essay pieces&quot;. <br /> <br /> Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.<br /> <br /> '''中国人对这类体裁的理解区域广泛'''<br /> <br /> 在中国，这种对随笔的广泛认识可以直接追溯到“散文”一词在中文中所具有的“无韵散文”的内涵，“无韵散文”原本指所有的非虚构散文。从更广泛的意义来讲，个人或日常使用的文本也包括在内。但是，我只讨论“散文”的狭义意义，指的是“短篇文学随笔片段”。<br /> <br /> 更进一步的差异是，中国散文往往具有思想内容，并表现出重复、谚语使用等文体特征。<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> '''The Chinese essay is booming again in the 1980s and 1990s'''<br /> <br /> Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'').[ Klaschka 1998.] The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文叢書 (essay bookseries).<br /> <br /> 20世纪80年代和90年代中国散文再次蓬勃发展<br /> 研究表明，1979年以后散文发表量普遍增加，在“文革”之后出现了两个高峰期。<br /> 散文出版量在1990年达到了一个新的高度。第一次增长出现在20世纪20年代和30年代，但是在此之后，散文的角色因为报告这一体裁(报告文学)而黯然失色。(Klaschka 1998。)在1920/30年代和1980/90年代，散文的繁荣在一定程度上得益于新杂志的出现，这些杂志是当代散文家发表文章的阵地，其大多属于散文丛书。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:22, 27 December 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> The increase in essay production right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.<br /> <br /> Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging xiangtu literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.<br /> <br /> 文化革命结束后，散文产量的增加导致需求积压，1980至1982年间，共有印刷了一百万册的散文集，这仅计算了我为调查收集的130本“代表性”书籍的样本中包含的藏书。<br /> <br /> 感谢一些年长的中国编者的作品，自20世纪70年代以来，整个散文文化是由杂志和报纸汇编而成的，并以大量选集的形式出版。这种文学繁荣堪比无题乡图文学的文化热，它是在台湾自我认同和独立运动的背景下兴起的。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:23, 27 December 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> '''2. Why is the essay as abundant as fiction?'''<br /> <br /> Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:<br /> <br /> - The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political zawen of Lu Xun, until today are mostly presented in essay form). The impact on literary reflection and theory is shown in the collection &quot;Modern Chinese Literary Thought&quot; 1996. The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry. The poem is the genre of retreat from social life, from political issues and time references.<br /> <br /> 为什么论文像小说一样丰富？<br /> <br /> 让我列举几个原因，为什么这篇论文实际上与它的散文兄弟，小说以及抒情姐妹，诗歌一样丰富，以及为什么必须如此重视它：<br /> <br /> -这篇文章在整个历史上都对中国社会产生了直接的影响（从清末到五四期间的改革思想，包括文学理论作品和鲁迅的日常政治杂文，直到今天大多以论文形式呈现 ）。 对文学反思和理论的影响在1996年的“中国现代文学思想”合集中显示。随笔类型，其直接语言，与生活之间的联系（例如，其在适应文化大革命中的作用）的影响， 并通过报纸直接接触个人读者。 这种影响大于小说或诗歌的间接影响。 这首诗是从社会生活，政治问题和时间参照中退缩的一种体裁。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 15:32, 27 December 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of novel and opera in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.<br /> <br /> - The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.<br /> <br /> 胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌依赖于形象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。<br /> <br /> -散文也比诗歌和小说更能反映社会的趋势。个人主义在随笔中表现得比在诗歌中更直接，但在内容和形式上都有局限性。短文的短暂性体现在短文的形式上，可以在上班路上的地铁里读，而在地铁里读诗，可能就不能那么随性的享受了。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 26 December 2020 (UTC)Lei Kuangxi<br /> <br /> 胡适认为“诗”在现代化的过程中是最重要的，因为诗歌升华情感。但诗歌也依赖于意象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“散文”却能给事物命名，反映千变万化的生活。现代主体性就是以“散文”为工具建构的。<br /> <br /> - 随笔也比诗歌和小说更能反映社会的发展趋势。个人主义在随笔中的表现比在诗歌中更直接，因为诗歌在内容和形式上对此有所限制。随笔的短暂性体现在随笔的形式上，人们可以在上班路上的地铁里阅读，而在地铁里读诗，可能就没有那么随性的享受。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:55, 26 December 2020 (UTC)<br /> <br /> 胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌也依赖意向和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。<br /> <br /> -散文也比诗歌和小说更能反映社会的趋势。由于散文的内容和形式上受限，它比诗歌更能直接表达个人主义。散文很短，所以花时间少，可以在上班路上的地铁里读，但在地铁里读诗可能就不能那么随性的享受了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:54, 27 December 2020 (UTC)<br /> <br /> ==Li Haiquan 李海泉==<br /> - The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too. The essay itself a genre of high actuality, if not simply the genre of today.<br /> <br /> - The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society. Many authors turned to essay writing in the later periods of their lifes, like Lu Xun, Ba Jin, and Wang Meng.<br /> [[Media:Example.ogg]]==Li Lili 李丽丽==<br /> - The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[ Shenbao, Shibao etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his ''zawen''), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang lu'' derived).<br /> <br /> “随笔”的产量超过了“小说”：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:33, 27 December 2020 (UTC)<br /> <br /> “随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:54, 25 December 2020 (UTC)<br /> <br /> “随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报社是控制政府的机构；另一方面，他主张审查制度，报纸作为20世纪初的一个大众媒体，以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:19, 27 December 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> '''3. Let us assign the essay its proper place'''<br /> The consequence which must be driven from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place! I will describe the beginnings of the discovery of the essay.<br /> Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.<br /> <br /> 3.让我们为散文指定其适当的位置，<br /> 由此得出的结论是:让我们为散文指定其适当的位置!我将描述发现这篇文章的开始。尽管从1979年开始，论文写作有所增加，但对这一现象的第一次理论反思却花了10年时间才出现。又过了10年，中国研究的国际学者才意识到这一现象。<br /> <br /> 3.让我们给作文赋予它应有的位置<br /> 从上面提出的论文的价值与价值之间的对比,由此得出的结论是:让我们给作文赋予它应有的位置!我将描述发现这篇文章的开始。尽管从1979年开始，散文写作有所增加，但有关这一现象的出现的第一次理论反思却花了10年时间。又过了10年，中国研究的国际学者才意识到这一现象。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 15:12, 27 December 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).<br /> <br /> 20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。另外90年代的两次会议也没有趋于国际学术研究的动向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:54, 26 December 2020 (UTC)<br /> <br /> 20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。除此之外，20世纪90年代的两次会议也没有转向国际学术研究的方向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:37, 27 December 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998) and for the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, ''Modern Chinese Literary Thought'' 1996).<br /> <br /> Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.<br /> <br /> 在不早于上个世纪90年代下半叶之时，出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。 （《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。<br /> <br /> 关于中国大陆，台湾地区和西方的散文评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:23, 27 December 2020 (UTC)<br /> <br /> 上世纪90年代后半期以前, 出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。 （《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。中国大陆，台湾和西方对散文的评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:24, 27 December 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode 1989:50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.<br /> <br /> Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation.<br /> 在台湾,鲁迅很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家印刷量最大的时候,鲁迅排在了第16位。 如果只考虑现代作家,甚至排在了第12位。 香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。<br /> 然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:16, 27 December 2020 (UTC)<br /> <br /> 在台湾,鲁迅的作品很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家作品印刷量最大的时候,鲁迅排在了第16位。 如果只考虑现代作家,甚至排在了第12位。 香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。<br /> <br /> 然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:39, 27 December 2020 (UTC)<br /> <br /> ==Li Yongshan 李泳珊==<br /> Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai, Woesler) or already published (Pollard 1999). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. This year, scholars will meet on a first international conference on the essay (Achern, Germany August 25-26). In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays. <br /> ==Li Yu 李玉==<br /> '''4. Taking into consideration the essay will rewrite the history of Chinese literature'''<br /> <br /> I will give a few hints, what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Prusek and Anderson.<br /> <br /> We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the ''yuanyang hudie pai'' played in the choir of different voices in the awoken intellectual debate in the beginning of this century. <br /> ==Lin Min 林敏==<br /> The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.<br /> ==Lin Xin 林鑫==<br /> In the following, I will name three aspects (chronologically sorted by past, modern and contemporary time) to hold the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.<br /> <br /> '''5. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned'''<br /> <br /> How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay are both in China and the West notes written on the margins of books, they are letters and travel notes.<br /> <br /> 下面，我将从三个方面(在时间顺序上按过去、现代、当代排序)来论述对散文的考量将改写中国文学史，改变我们目前对它的认识这一论点。<br /> <br /> 5. 古典和前现代散文记录了中国哲学，其早期的主体性，仍然是对中国本土传统的质疑。<br /> 中国散文在历史上要如何定位，它是如何产生的，它的共有背景是什么？一般来说，中国和西方的散文都是起源于写在书本空白处的笔记，是书信和游记。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:18, 27 December 2020 (UTC)<br /> <br /> ==Ling Zijin 凌子瑾==<br /> These notes differed from the canonized literature through its informal style, its expression of individuality und subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.<br /> <br /> From the very beginning, the essay was valued lower than poetry: the oldest reference this far for the term ''sanwen'' that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù.<br /> ==Liu Bo 刘博==<br /> 詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatels, is limited.) (''Helin yulu''). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.<br /> <br /> In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge.<br /> <br /> “詩騷妙天下，而散文頗覺瑣碎局促。”罗大京提到的另一个骂名，是形式上的：与具有高度艺术性和长达一个世纪传统的诗歌写作相比，散文中直接的、白话文式的语言在他看来并不那么有价值。<br /> 在西方，16世纪晚期出现了一种真正的“散文写作艺术”，作为一种传播重组知识的媒介。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:50, 27 December 2020 (UTC)<br /> <br /> “诗騷妙天下，而散文颇觉瑣碎局促。”罗大经提出的另一个责难，是形式上的。在他看来，与高度艺术化的百年诗词写作传统相比，散文直接的、白话文式的语言没有什么价值。<br /> 在西方，真正的 “散文写作艺术 ”是在16世纪末作为重组知识的一种媒介出现的。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:30, 27 December 2020 (UTC)<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> The reorganization originated from the observations of Kopernikus, which destroyed the whole conception of the world of the Middle Age.<br /> <br /> In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters. The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of sǎn 散 as (to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''. <br /> ==Liu Liu 刘柳==<br /> Xunzi delivered the prototype of the later essay with his philosophical treatises. They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.<br /> <br /> During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written at the paper margins originated the ''biji'' µ§°O (occasional notes), flourishing in the Ming Dynasty.<br /> <br /> 荀子的哲学论著是后世散文的雏形，它们是哲学教学论文的早期形式。其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。<br /> <br /> 历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:25, 25 December 2020 (UTC)<br /> <br /> <br /> 荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，这些散文中传授的普遍定理不仅有引用经典著作，还首次借鉴其个人经历。这种个体性在当代的散文中仍有保留。<br /> <br /> 历朝历代，散文通过一些子类别得以呈现，如明朝盛行的在书页边上写的读书注释，它就是源于笔记。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:47, 25 December 2020 (UTC)<br /> <br /> 荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。<br /> <br /> 历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:20, 27 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as a genre of its own originated in China not before the Qing ²M dynastie, when numerous essay anthologies were compiled.<br /> <br /> Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences.<br /> <br /> 边缘主义是中西早期散文的一个纽带。散见的笔记包含了私人的历史记录，轶事，交谈和个人沉思。然而，尽管当时的散文选集众多，但将视散文作为一种文体的意识，清朝之前并没有出现。<br /> <br /> 考虑到当时的社会历史背景，人们在旧社会时，对短篇故事和小说的看法不同：散文更接近现实生活，因为它们表达了个人的困惑和经历。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:15, 27 December 2020 (UTC)<br /> <br /> 边缘主义是中西早期散文传统的一个纽带。偶尔的笔记可以包含私人的历史笔记，轶事，交流和沉思。然而，尽管当时中国散文选集有很多，一直到清朝之后我们才将散文视作一种文体意识。<br /> 考虑到当时的社会历史背景，人们对旧社会的看法与短篇小说和小说不同：散文更接近现实生活，因为它们表达了个人的问题和经历。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:43, 27 December 2020 (UTC)<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> Until now, the Chinese pre-''Hongloumeng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.<br /> <br /> Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the &quot;Eight legged essay&quot; as as appealing and intoxicating as the &quot;pleasure of doing opium.'' (Zhou 1932:148).<br /> <br /> 目前为止，中国红楼梦前的个体文学还只是通过诗中的间接语言与我们对话。通过重拾散文，我们可以知晓不同观点和社会历史状况等文学创作的丰富源泉。<br /> 现代散文之前的文学并不限于形式上受限制的八股文，一方面鲁迅本人也有一些散文是用八股文写成的，但另一方面他又把八股文当作古代社会的代名词。周作人把 &quot;八股文 &quot;的语言节奏看作是 &quot;做鸦片的快感 &quot;一样令人陶醉。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 08:42, 25 December 2020 (UTC)<br /> <br /> <br /> 直到现在，中国前“红楼梦”的个体文学只能通过诗歌的间接语言与我们对话。重新发掘这些散文，我们可以拥有丰富的观点来源，社会历史图片等。<br /> <br /> 前现代散文文学不仅仅包括它最为人所知的例子，正式的、有限制性的“八卦文”。鲁迅自己的一些文章就是用“八卦文”写的，但是在另一方面又把它当作古代社会的同义词。周作人认为《八股文》的语言节奏就像“吸鸦片的快感”一样令人陶醉。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:07, 25 December 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, Zhou Yuanliu:71).<br /> <br /> Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''Wenyi zai dao'' (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.<br /> <br /> <br /> 但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。<br /> <br /> 新儒家强调''文''（散文）是传播''道''的最重要工具：''文以载道''（文以载道）。如果我们从文体的角度来重新解读这句话，我们可以说，当时的散文已经被视为表达真理、主体性和自我的重要工具。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:01, 25 December 2020 (UTC)<br /> <br /> 但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。<br /> <br /> 理学强调“文”（散文）是传播“道”的最重要工具：“文以载道”。（以文学为载体的方式）。如果我们从体裁的角度来重新解读这一措辞，可以说，散文已成为表达真理、主体性和自我的重要工具。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:53, 27 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> Liang Qichao developed a ''xīn wéntǐ'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.<br /> <br /> '''6. The essay as the medium of modernity, the questioning of the genuiness of the Chinese essay'''<br /> <br /> To solve first of all the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Lin Shu: ''Irving'' 1907, ''Addison'' 1911). <br /> ==Liu Zhiwei 刘智伟==<br /> The current form of the genre is mostly based on the influence of Western essay translations. First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only. A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).<br /> <br /> This is older than the ones referred to in the ''Large Chinese Dictionary'' of Morohashi (Morohashi undated) and in the ''Encyclopaedic Dictionary of the Chinese Language'' 1966.<br /> <br /> ==Lou Cancan 娄灿灿==<br /> Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin 1992, Fan Peisong 1993; for Western impact in general see Průšek 1964, Gálik 1966, McDougall 1971. Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.<br /> <br /> 然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:57, 26 December 2020 (UTC)<br /> <br /> 然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:07, 26 December 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement. All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1933, the anarchist and later member of the Guomindang Wu Zhihui [1934]. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition:<br /> <br /> 以五四运动传奇作者为例可以看出个人观点对历史事实的叙述的影响有多大。 这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。 后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:19, 27 December 2020 (UTC)<br /> <br /> 以五四运动传奇作家为例可以看出个人观点对史实叙述的影响有多大。这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:14, 27 December 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> for example, Lu Xun with his theory &quot;'Zhǎnkāi' shuō yǔ 'méngyá' lùn “展開”說與“萌芽”論&quot;&quot; (Theory of &quot;Starting&quot; and &quot;Blossoming&quot;) came to see the fighting and critical character of the essay of the Jin dynasty (265 - 420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the ''biji'' (occasional notes) of the Ming, although he still tried to integrate the English essay in his &quot;Gonganpài yu Yīngguo xiaopin 'hecheng' lun 公安派與英國小品“合成”論&quot; (Theory of the Synthesis of the Gongan School and the English Essay).<br /> <br /> 例如，鲁迅以其“开始”与“绽放”的理论，将晋代散文的战斗性和批判性视为中国散文的“父”，周作人则先是英文散文（1921年）出发，之后是明朝“笔记”（随心记录），尽管他仍试图在公干派与英国小品合成论中中融入英文文章。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:09, 27 December 2020 (UTC)<br /> <br /> ==Ma Juan 马娟==<br /> Wang Zengqi regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays (Wang Zengqi 1993). The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay. One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.<br /> ==Ma Shuya 马淑雅==<br /> When Zhou Zuoren showed that only seven months after the incident at Marco Polo bridge it was again possible to write about a candy seller (1924), he was critizised as &quot;paralyzing&quot; (Lu Xun 1934, Zhu Zhaoluo 1943). When he wrote a piece on the &quot;Fly&quot;, he was reproached with dealing with subjects of minor importance. Reproaches like this lie in the very nature of the genre, since ''marginalism'' is substantial to the essay. The mentioned formal reproach of Luo Dajing can be found again in the 1990s, Hong Kong students critisized the literary style as it appears in Ba Jins &quot;Thoughts&quot; (Suixiang lu) as too direct and too less artful. But this perspective does not recognize the very nature of the essay, which is a very individual expression of an author's thoughts and not bound to tradition, and therefore much more free also in content.<br /> ==Ma Zhixing 马智星==<br /> The essay - from its very nature free and independant - almost disappeared in the time of the Cultural Revolution and - except for the ideologically influenced essays - had a hard struggle between Yan'an and the loss of moral legitimacy by the leadership in 1989.<br /> <br /> The essay was ''the'' genre of the modernizing society of the early 20th century. Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming &quot;needs&quot; of society, which also claimed the author to be one of its products.<br /> ==Meng Ying 孟莹==<br /> But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is &quot;a genre of self-reflection&quot;. Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art. <br /> <br /> I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).<br /> ==Mo Ling 莫玲==<br /> Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays. I mention only Zhou Zuoren. His ideas connected him spiritually to his contemporary collegues in Europe, Japan and America, but these where ideas for which China turned out to be not yet ready. At that time, China had taken a road which led away from progress, wealth, freedom and spiritual enlightenment. The consequences have yet to be overcome.<br /> <br /> 除开关注作家的小说和诗歌之外，如果我们对他们的散文有所涉猎，就会发现他们不仅对文学整体的理解发生了变化，单个作者的观点也发生了变化。仅就周作人来说，他的思想在精神上把他和他在欧洲、日本和美国的同伴们联系在一起，但是这些设想在中国行不通。当时的中国走的是一条远离进步、财富、自由和精神启蒙的道路，这一现状还并没有得到改变。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:34, 26 December 2020 (UTC)Mo Ling<br /> <br /> 如果我们考虑到散文，不仅文学作为一个整体的理解会改变，而且如果我们不仅看到他们的小说或诗歌，而且看到他们的散文，单个作者的观点也会改变。我只提周作人,他的想法在精神上把他和他在欧洲、日本和美国的当代同事联系在一起，但这些想法在中国还中国行不通。那时，中国已经走上了一条远离进步、财富、自由和精神启蒙的道路。其后果还有待克服。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:27, 27 December 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> In 1927, Chinese literature has taken the form of 'engaged literature'. The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. <br /> ==Nie Xiaolou 聂晓楼==<br /> Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be &quot;art pourt l'art&quot;.<br /> ==Ou Rong 欧蓉==<br /> The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (&quot;Shuo meng 說夢&quot; On dreams in: Zhu Ziqing 1928) and Zhou Zuoren from 1917 (My own garden 9.1923, &quot;The Fly&quot; 1924, &quot;Reading on the Toilet&quot; 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.<br /> ==Ouyang Jinglan 欧阳静兰==<br /> I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda. This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character. <br /> ==Ouyang Ling 欧阳玲==<br /> In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.<br /> <br /> Taking into account of a genre shifts the whole perspective on literature, taking into account the essayistic works of an author shifts also the view of the author. I will name only one author as an example for a modern essayist: Zhou Zuoren.<br /> <br /> 20世纪90年代，20、30年代民国时期的文本和当代的文本一样也经常被重印。显然，我们可得出一个结论：20世纪50年代的那些政治宣传文只能留存在特殊的政治文章选集当中，到了21世纪初，就不再有作者去写这类文章，也不会有中国读者去看这类文章了。<br /> <br /> 考虑到整个体裁对整个文学角度的转变，以及散文作品反映出的作者观点的变化，我只举一位现代散文家的例子：周作人。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:47, 25 December 2020 (UTC)<br /> <br /> 20世纪90年代，20-30年代民国时期的文章仍然和当代的同类文章一样经常被重印。显然，我们可以得出一个结论：20世纪50年代的政治宣传类散文只保存在专门的政治散文集中，到21世纪初，不再有人去写，也不再有人读这类文章了。<br /> <br /> 一种文学体裁会转变整个文学的视角，一位作家的散文作品，同样也会转变对这个作家的看法。我只以一位现代散文家为例：周作人。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:02, 25 December 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> '''Zhou Zuoren'''<br /> <br /> I mentioned already his theoretical contribution to the Chinese essayism, but still, his essays have been neglected until the 1980s. The reason does not lie in literary quality, but in political valuing. The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that the theoretical May Fourth genius &quot;degenerated&quot; and later became a &quot;traitor&quot;. Publishing in the Japanese sponsored magazines ''Reminiscences'',* and ''Chinese Literature'', he was blamed together with Zhu Pu and Yuan Xi of collaboration. An unanswered question is, why another author, who published there, Zhang Ailing, was never reproached with collaboratorship. The difference between all of them is that Zhang Ailing tried to avoid political committments, whereas Zhou felt guilty, Zhu justified it and Yuan simply accepted it.<br /> ==Peng Juan 彭娟==<br /> ''The 'mainstream' writers took an affirmative approach in their writing, whereas the other writers formed a minority. The individual authors did not necessarily belong to either one of these groups throughout their life, but may have moved between them. Since the essay is a medium which enables the individual to express thoughts directly, the writers chosen for this paper can be classified according to their position.''<br /> <br /> ''Yu Guangzhong's essay'' &quot;The wolves are coming&quot; ''shows that the ideological perspective did not only harm mainland essaywriting.''<br /> ==Peng Ruihong 彭锐宏==<br /> In his small literary pieces, Zhou tried to aesthetizise the little things of the everyday life out of the subjective experience of his private space. The major contribution of Zhou Zuoren is, that he set the turning point in Chinese essay writing with his call for writing short literary pieces (''Meiwen'' 1921). <br /> <br /> In foreign literature there is the so-called ''lunwen'' 論文 (treatise), which is roughly divided into two groups: the reflecting ones, piping 批評 (critical), are scientific articles. The others are ''jishu'' 記述 (descriptive) and ''yishuxing'' 藝術性 (artistic), they are also called ''meiwen'' 美文 (aesthetic essay). Within these texts, one can distinguish between ''xushi'' 敘事 (narrative) and ''shuqing'' 抒情 (lyric). But there are also mixed texts. [...] I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn’t that be wonderful?<br /> ==Peng Xiaoling 彭小玲==<br /> With these words from the essay &quot;''The aesthetic essay''&quot; this new vernacular form was defined. This starting point founded a whole new tradition of essay writing in China. Contemporary writers called this piece the &quot;king of essays&quot;. <br /> <br /> In order to bring this new form to his compatriots, he tried to find similiarities with the ''xiaopinwen'' of the Ming dynasty. He further discussed these thoughts in his essay theory. In his own essays, he profited a lot from ancient ''suibi''. Later he further developed his literary theory towards an up and down of two trends. In the modernizing society, he advocated the liberation of women and asked to &quot;treat children as full subjects with their own external and internal lives&quot; and to &quot;make children the essence of children's literature&quot; (Zhou 1923). He promoted the ''baguwen'' and the independance of literature from politics and effected the literary scene and the development towards a modern Chinese society especially between 1917 and 1938.<br /> <br /> “美学散文”中的这些词语定义了这种新的白话形式。这个起点在中国建立了一种新的散文写作传统。当代作家称此作品为“散文之王”。<br /> <br /> 为了将这种新形式带给他的同胞，他试图找到其与明朝“小品文”的相似之处。他在散文理论中进一步讨论了这些思想。 他自己的散文也从古代的“随笔”中受益匪浅。后来，他将文学理论朝着上下两种趋势进一步发展。在现代化社会中，他呼吁解放妇女、“将儿童看作具有外在和内在生命的完整主体”以及“让儿童成为儿童文学的本质”（Zhou 1923）。他提倡“八股文”和文学脱离政治的独立性，这对文学界产生了影响，并推动了中国向近代社会尤其是1917年至1938年的发展。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:48, 25 December 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> With this theoretical foundation and his own vo'luÉminous essayistic work, Zhou Zuoren through the example of his own form of short literary pieces within this genre, fought at that stage of the development of his literary theory like Benjamin Henri Constant de Rebecque 130 years ago in France for the idea &quot;l'art pour l'art&quot; , for individuality and independance of the writer, for disinterested literature. The jugdment, that Zhou was an apolitical author cannot be proved with his essays. Instead, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance (Zhou 1929:180-181). <br /> ==Peng Yuzhi 彭育志==<br /> In fact he saw himself as ‘patriotic underground fighter’ and looked at the collaboration with the Japanese puppet regime as a forced one, following his attempted assasination, through which his driver had lost his life. His own concept of essay writing served less the needs of the building of a nation-state and comes closer to the ideal of the individual. <br /> <br /> &quot;I don't really know why, but I am feeling as if I am born into a dark age. I admit, that our forests are not inhabited by dragons, tigers and wolves, but shapeless &quot;monsters&quot; and &quot;goblins&quot; are still creeping around and try to swallow our souls. [...] What alarms me most, is the absence of freedom in this prison, into which we writers have been thrown.&quot; <br /> ==Qi Kai 漆凯==<br /> Confronting tradition and progress in the essay &quot;''Ancestor Worship''&quot;, he is in favor of the latter, since past could only become present through changes (Zhou 1919:7-8). <br /> <br /> Benjamin Henri Constant de Rebecque (1767 - 1830) war französischer Romanschriftsteller und liberaler Politiker, der neben der Freiheit der Kunst nach der Französischen Revolution die Einführung der konstitutionellen Monarchie nach englischem Vorbild forderte.<br /> <br /> ==Qu Miao 瞿淼==<br /> Siehe ''Journal'' (10.2.1804). Die &quot;Kunst um der Kunst willen&quot; propagierte die Zweckfreiheit der Kunst. Im Gegensatz dazu versteht sich die engagierte Literatur. Die Parallele zwischen Zhou Zuorens Literaturverständnis und dem Konzept &quot;Kunst um der Kunst willen&quot; zieht auch Wolff: ''Chou Tso-jen'' 1971, S. 84.<br /> <br /> Siehe Zhou Zuoren: ''Der Ursprung der neuen chinesischen Literatur'' 1934, S. 95 - 98; vgl. auch Chen Zizhan: ''Vorträge zur chinesischen Literaturgeschichte'' 1937, Bd 3, pp. 416 - 422, besonders S. 422. Hinweis in: H. Martin: &quot;''Liang Qichao on Poetry Reform''&quot; 1996, Bd 1, S. 213.<br /> <br /> 见“期刊”（102.4804 年）。“艺术之艺术”宣传了艺术目的自由。相比之下，承诺的文学是可以理解的。周作人对文学的理解与“艺术之艺术”概念之间的相似之处也吸引了沃尔夫：“周作人”，1971 年 84.<br /> <br /> 参见周作人：“中国新文学的起源”，1934 年，第 95-98 页；另见陈子赞：“中国文学史讲座”，1937 年，第 3 卷，第 416-422 页，特别是 p422。注：H。马丁：“梁启超诗歌改革”，1996 年，第 1 卷，p213--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:55, 27 December 2020 (UTC)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:57, 27 December 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> Regarding Zhou Zuoren, I want to correct the official assessment of the People’s Republic, that his work would have experienced a caesura in 1938. In order to explain his opposition of the propaganda to build up national heroes about 1937 and his collaboration from 1939, it has been said officially, that his thoughts had &quot;duoluo 墮落&quot; (degenerated) at that time (Zhu Jinshun 1990:59). In fact, this caesura, namely the change in the style and subject in his essays on literature, art etc. to ''zhengjing'' 正經 (serious, intentional essays), and ''xianshi'' 閑適 (essays for one’s own enjoyment) is located not before his outlawing through Mao Zedong (1942), and his arrest through the Guomindang (1945).<br /> ==Sagara Seydou ==<br /> Therefore not the Japanese suppressors are responsible for the retreat of this great writer, but his Chinese compatriots'. <br /> <br /> On the basis of the stigma of the 'traitor', he has been undervalued until now. That his work in the 1990s is almost as often published as Lu Xun's and Zhu Ziqing's shows that his texts finally experience a more positive literaric evaluation through the audience, which now must be registered also by scholars.<br /> 因此，不是日本的压制者对这位伟大作家的退缩负责，而是他的中国同胞的退缩.<br /> 根据“叛徒”的污名，他一直被低估。他在1990年代的著作几乎与鲁迅和朱自清的著作一样频繁地出版，这表明他的著作最终在听众中得到了更为积极的文学评价，现在也必须由学者进行注册.<br /> <br /> ==Shi Diwen 石迪文==<br /> Another example of a misread Zhou Zuoren is his short essay on &quot;''The Fly''&quot;, where he describes his changing attitude towards flies, which he had played with as child but later disgusted when he learned about their danger of passing on diseases. ”''The fly''” shows Zhou Zuoren’s strength to describe details and make them a real topic by recalling memories on them or describing a change of perspective on them. Zhou summarized the philosophical wisdom he learnt from this, that people did not judge on things objectively, but were likely to praise or damn things. <br /> ==Shi Haiyao 石海瑶==<br /> The official reading re¬proaches Zhou that he &quot;saw only the fly and not the cosmos&quot; , a quotation of the young Zhou about a position he himself clearly opposed.<br /> <br /> His ability to chat about the more pleasent things in life is displayed in his essay ”Birds’ twitter”. In ”''Peking cakes and sweet-meat''” and in ”''Wild vegetable of my home region''”, Zhou Zuoren shows his ability to make the reader feel at home at a region, where he feels at home himself, by describing the customs and special regional food. <br /> <br /> Siehe Zhou Zuoren: &quot;Cangying 蒼蠅&quot; (Die Stubenfliege), in: ''Chenbao fujuan'' 晨报副镌 (Beilage zur Morgenpost) (1924.7.13). Eine Zu¬sammenfassung des Inhalts findet sich in: Yu Daxiang (Hg.): ''Auswahllexikon chinesischer Essays mit Inhaltsangaben und Analysen'' 1993.<br /> <br /> ''Siehe Vollständige chinesische Anthologie der Wissenschaften - Bd Chinesische Literatur'' 1988, Bd 2, S. 1300. Dies spielt auf den Essay &quot;''Cangying'' 蒼蠅&quot; (Die Stubenfliege), in: Zhou Zuoren: ''Zhi Tang. Sammlung'' 1933 an.（文献无需翻译）<br /> <br /> 官方的解读指责他“只看到了渺小，而没有看到伟大”，这是对年轻的周作人的引用，他自己明确反对该立场。<br /> 他谈论生活中更愉快的事情，在他推特的文章“鸟”中得到了展示。在“北京蛋糕和甜食”与“我家乡的野菜”中，周作人通过描述风俗和特殊的地区食物，展示了他让读者感到宾至如归的能力。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:37, 27 December 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> His piece ”''Bitter rain''” shows the atmosphere, for what his essays had been labelled ”bitter tea”: There remains a taste in one’s mouth after reading. If you compare Lu Xun’s ”''On tea drinking''” (Yang/Yang 1961 3:325-326) with Zhou Zuoren’s essay with the same title, you see the difference of ”short and to the point” and ”eloquent and well-read”. ”''First love''” is more hilarious. The essay ”''Three different ways to die''” shows that Zhou Zuoren can compete with his elder brother in sarcasm. Lu Xun's essay on the same subject, the massacre on March 18, 1926, was a sight.<br /> <br /> 他的作品《苦雨》展现出了这种氛围，因此他的文章被称为“苦茶”：阅读完之后能感到余味悠长。如果你对比鲁迅和周作人的《论饮茶》(Yang/Yang 1961 3:325-326)，你可以看到“短小精辟”和“雄辩易读”的区别。《初恋》是最欢乐的作品。文章《三种不同的死法》表明周作人在讽刺小说方面足以与他的哥哥抗衡。鲁迅的同题作文《1926年3月18日的大屠杀》让人眼前一亮。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:36, 27 December 2020 (UTC)<br /> <br /> ==Song Jianru 宋建茹==<br /> Zhou asks for the ”best” way to die and favors the short and painless one. In ”''On alcohol''” and ”''The awning bunk boat''” Zhou Zuoren continues the tradition of late Ming ''biji''.<br /> <br /> '''7. The essay as a snapshot of contemporary thoughts'''<br /> <br /> ''What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.''<br /> <br /> ==Su Lin 苏琳==<br /> The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a consciously “corrected” truth.<br /> ==Tan Xingyue 谭星越==<br /> The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (Wang Meng: &quot;''Anxiang'' 安详&quot; (Serene) 1992, &quot;''Zuohao ni ziji de shi'' 做好你自己的事&quot; (First make your own things in a good way) 1994). <br /> ==Tan Xinjie 谭鑫洁==<br /> These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.<br /> <br /> Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive (&quot;''Shanxi opera''&quot;, Jia Pingwa 1984) or negative world (&quot;''The nightmare''&quot;, Si Yu 1995).<br /> <br /> From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:<br /> <br /> 这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。<br /> 20世纪80年代和90年代的其他散文虽是一种新的主观主义，其目标是摆脱当代的矛盾，但是通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。<br /> 从这篇文章中，我们可以看到当代文学的趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:30, 27 December 2020 (UTC)<br /> <br /> 这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。<br /> 20世纪80年代和90年代的其他散文是一种新的个人主义，其目标是远离当代的矛盾，但通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。<br /> 从这篇文章中，我们可以看到文学的时代趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:44, 27 December 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> - The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall 1984:xiii); <br /> <br /> - The increasing consciousness of indivi¬duality for which the essay is the most direct form of subjecti¬ve expression, even more direct than the poem with its metrical and formal demands; <br /> <br /> - A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.<br /> <br /> - The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.<br /> <br /> - 当下中国社会的浮躁节奏，对转折性和短文的要求。&quot;[...]我们生活在一个论述的时代&quot;(Hall 1984:xiii)。<br /> <br /> - 越发增加的独立意识，对其而言，文章是最直接的主体表达形式，甚至比诗的格律和形式要求更直接。<br /> <br /> - 通过散文这一媒介讨论社会政治问题的兴趣的复苏，就像20世纪20/30年代的情况一样。<br /> <br /> - 日常生活的平庸性通过成为文学话题而变得自觉，最常见的是日常生活的文体--散文。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:06, 25 December 2020 (UTC)<br /> <br /> <br /> -当前中国社会节奏轻快，要求有趣味的短文：“[…]我们生活在一个博览会时代”（大厅1984:xiii）；<br /> <br /> -对于个人二元性意识的增强，散文是主体性表达的最直接形式，甚至比诗歌的韵律和形式要求更直接；<br /> <br /> -通过这篇文章讨论社会政治问题的兴趣的复复苏，如同20世纪20年代或30年代的情况一样。<br /> <br /> -日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:59, 25 December 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> - The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays. <br /> <br /> - Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.<br /> ==Tang Ming 唐铭==<br /> This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publis¬hing houses with an orientation toward customers (former: &quot;readers&quot;). <br /> <br /> - The criteria for essay best sellers in the P.R. of China are the following: In the most often printed essay &quot;''The Back View''&quot;, filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous &quot;''The Moonlit Lotus Pond''&quot;, both written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader.<br /> ==Tang Yiran 汤伊然==<br /> Nostalgic home feelings are the emotional identification element in &quot;''Wild vegetables of my home region''&quot; by Wang Zengqi. Therefore one can state, that moving es¬says form the top.<br /> <br /> - ''In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in¬dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.''<br /> <br /> ==Tao Ye 陶冶==<br /> ''In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph'' China can say no! – Possibilities for politics and emotions in the period after the cold war (''No''! 1996).<br /> <br /> - ''The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.''<br /> ==Wang Meiling 王美玲==<br /> ''Also trends like the use of ordinary language, which one finds in novels since 1993 (Jia Pingwa, Feidu; Gu Cheng, Yingger) and'' New Borderlessness ''since'' 1995, ''cannot be pro-ven in the essaywriting. ''<br /> <br /> - Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being &quot;''The Small Dog Baodi''&quot;, written by Ba Jin 1981, in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before (&quot;''In memoriam of Xiao Shan II''&quot;, Ba Jin 1984).<br /> ==Wang Xuan 王轩==<br /> Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's &quot;''Rain in Kunming''&quot; as well as for Jia Pingwa's &quot;''Shanxi opera''&quot;. <br /> 类似的还有想象怀旧的概念，正如王功权所说的沈从文作品中虚构的真实（王大卫·德维王1992），有助于解读汪曾祺的《昆明雨》，也有助于贾平凹的《山西剧》。<br /> <br /> - The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing fictional truth through the metaphor of his dog Baodi.<br /> 施瓦茨在“隐喻话语”中所表达的“个人悲伤”概念，有助于我们理解巴金是如何克服他以“存在的真理”而闻名的，却通过他的狗“宝坻”的隐喻而获得更具说服力的虚构真相。<br /> <br /> Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.（文献无需翻译）<br /> <br /> ''Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay &quot;The nightmare&quot;, where Si Yu appears as a de-constructionist, the I-narrator even is drawn near to suicide.''（文献无需翻译）<br /> <br /> And maybe for Xie Bingxins* reflections on her experience as one of the chosen voluntaries of the Wuhan military academy: She insisted to remain a lifelong &quot;woman soldier&quot; .（文献无需翻译）<br /> <br /> ==Wang Yu 王煜==<br /> '''8. Discussion: Is the genre of the essay the form of literary expression in 21st century China?'''<br /> <br /> Regarding the future of the Chinese literature, we can only speculate. But out the risk of being wild and provocative, I would like to suggest some questions for considering the place of the essay in the field of Chinese literature and literary studies.<br /> <br /> - People have less time for actions like reading, and get used to reduced visualized information through the Internet. Will the brevity of the essay make it the ideal medium?<br /> <br /> ==Wang Yuan 王源==<br /> - If the Chinese people are rediscovering their individuality, will the essay allow them to express individual thoughts more directly?<br /> <br /> - Modern societies are characterized by TV culture, mass consumption, and the loss of consciousness of one's own tradition, often partly due to the American impact on national cultures. Is the essay less bound to the restrictions of tradition, especially compared to the poem and thus more adaptable to the modern phenomenon of mass consumption?<br /> <br /> ==Wei Honglang 韦洪朗==<br /> - The alienation and the anonymity of citylife worldwide, in China is combined with a loss of traditional values like ideology, family, solidarity etc. in favor of the concept of profit for oneself, - if this has produced a longing for new orientation, will it possibly be filled by morally guiding essays or nationalistic thinking?<br /> <br /> - 在中国，世界范围内城市生活的异化和互相不认识的现象与传统价值观如意识形态、家庭、团圆等的丧失结合在一起，有利于为自己谋利的观念，如果这已经产生了对新方向的渴望，这个领域能否被道德指导性文章或民族主义思想所填补呢？--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 11:35, 27 December 2020 (UTC)<br /> <br /> 《红楼梦》与其他世界文学作品的相似性——推荐《红楼梦》列入世界记忆遗产名录<br /> <br /> '''Commonness between the Red Chamber Dreams and other World Literature Novels – Proposing the Red Chamber Dreams to the World Documentary Heritage List'''（修改）<br /> <br /> 吴漠汀，湖南师范大学 Martin Woesler, Hunan Normal University<br /> <br /> Source: Lecture at Harvard University, Cambridge, MA USA, 14.3.2000（文献无需翻译）<br /> <br /> ==Wei Yafei 魏亚菲==<br /> '''Abstract'''<br /> <br /> In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the Red Chamber Dreams, they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.<br /> <br /> Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. ''The Red Chamber Dreams'' function worldwide. <br /> <br /> 摘要<br /> <br /> 在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。<br /> <br /> 曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。（修改）<br /> <br /> 在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中衍生出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。<br /> <br /> 曹雪芹，甚至于他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:09, 25 December 2020 (UTC)<br /> <br /> ==Wen Sixing 文偲荇==<br /> ''The Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.<br /> <br /> 红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。（修改）<br /> <br /> 多元一体<br /> <br /> '''Key words'''<br /> <br /> Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage<br /> <br /> “红楼梦”是一个多元的中国文化综合体，是中国文化的体现和精髓，但它也具有全球影响力，因此应该被授予“世界文献遗产”的荣誉。（修改&lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;）<br /> <br /> 多元一体<br /> <br /> '''Key words'''<br /> <br /> Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage<br /> --[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:29, 25 December 2020 (UTC)<br /> <br /> 《红楼梦》是一个中国文化综合体，展示着中国文化的精髓的同时也极具全球影响力，理应被列入世界记忆遗产名录。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:00, 26 December 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> '''1. Chinese Ethics'''<br /> <br /> To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.<br /> <br /> When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.<br /> <br /> However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.<br /> <br /> ==Wu Kai 吴恺==<br /> '''2. Compatibility<br /> '''<br /> Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?<br /> <br /> First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel.<br /> <br /> '''2. 兼容性<br /> '''<br /> 为什么《红楼梦》在世界范围内广泛流传，甚至在翻译领域中也取得了世界文学的地位？<br /> <br /> 首先，《红楼梦》和世界小说一样，是一部娱乐文学。与戏剧中的每一个元素都是强制性的，在整体结构中起作用的戏剧相比，小说的行动路线本身更简单，也不那么重要，大部分场景或情节都松散地组合在一起，这和小说更广泛的主题相吻合。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:29, 27 December 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the ''Shuihuzhuan'' and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.<br /> <br /> '''3. Impact of translator’s native culture on the translation process'''<br /> <br /> There are intercultural parallels between the ''Red Chamber Dreams'' and Western works of literature.<br /> <br /> 然而，《红楼梦》章回结构不连续来自于《水浒传》中几乎没有联系的章回的传统，这是朝着章回更连贯、与故事线一致以及更集中于较少主角的方向迈出的一步。因此，《红楼梦》明显向西方小说传统迈进了一步，可能是因为西方对清代的影响越来越大。<br /> <br /> '''3.译者的本土文化对翻译过程的影响'''<br /> <br /> 《红楼梦》和西方文学作品之间有跨文化的相似之处。<br /> --[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:54, 27 December 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the ''Dreams'' will immediately think of.<br /> <br /> '''4. The novel as embodiment of “Zeitgeist”'''<br /> <br /> According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s ''Ilias'', which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality.<br /> ==Wu Xiang 邬香==<br /> The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist). <br /> <br /> 小说作为一种文学题材不再仅仅记录一种文化，而是用沃尔特·本杰明的话来代表历史的有机物。因此，卢卡奇对这部小说的理解从历史转向哲学。一部小说被理解为其历史时代的典型小说，这部小说会体现时代精神（时代精神）。<br /> <br /> The ''Red Chamber Dreams'' are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng.<br /> <br /> 《红楼梦》是在满族统治原汉族掌管的明朝（当时是一个多民族、跨文化的社会）和贵族家庭遭受皇位更迭影响的背景下写成的，曹氏家族受到康熙的扶植和雍正的迫害。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:04, 27 December 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Mann, including the turn to arts and music).<br /> <br /> 虽然作者在他的时代无法批判皇帝的制度和权力，但在小说中，他通过家族的日益衰败（修行道教、休闲、写诗、艺术和音乐，而不是为了能够谋生而学习）和自己没有实现作为家族继承人的期望中寻找受迫害的罪责，来接受这种生活。这种对没落家庭颓废的描述，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:35, 27 December 2020 (UTC)<br /> <br /> 虽然作者在他的时代无法批判帝制和皇权，但在小说中，他为家族的日益衰败（参加道教、娱乐、诗歌、艺术和音乐活动，而不是为了谋生而学习）和自己作为家族继承人没有实现家族期望感到自责，通过这样做，他也对这种生活做妥协。这种对没落家族颓废状况的描写，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 15:08, 27 December 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the Dream appears as a documentary historical novel very much like Günter Grass’ The Tin Drum 1959.<br /> <br /> '''5. Coming-of-age and Alienation'''<br /> <br /> Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment.<br /> ==Xiao Shuangling 肖双玲==<br /> However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life. Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged.<br /> <br /> 然而，曹雪芹的信息不仅是“失乐园”的信息，而是他本人的一生。 尽管不如他的家人仍然享有皇帝的宠爱时富裕，但清初中国有一个工资体系和一个完整的社会网络，在那里他获得了足够的收入以独立于自己的富裕亲戚，可以有选择性地接受工作 在大自然的小房子里过着轻松的生活，与家人和朋友共度时光，遵循自己的兴趣，例如读书，写作和喝酒，为孩子们放风筝和思考处境不利的人。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:38, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> 然而，曹雪芹所传达的信息并不是简单的“失乐园”，相反，他把自己的生活过得很好。 虽然比起他的家族享受皇帝的宠爱，他过得没有那么富裕，但清初中国有一套薪俸制度和一张完整的社会网，他获得了足够的收入，可以独立于富贵亲戚，可以有选择性地接受工作，可以在大自然的小房子里过着悠闲的生活，可以与家人和朋友共度时光，可以追随自己的兴趣，例如读书，写作和饮酒，可以为孩子们做风筝，可以为弱势群体着想。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:27, 27 December 2020 (UTC)<br /> <br /> ==Xiao Ting 肖婷==<br /> Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.<br /> <br /> 曹雪芹对自己所处的时代和中国的文化成就有充分的认识，他熟悉社会的方方面面，他观察细致，叙事娴熟。他能把小说的结尾构思为对小说中人物不同性格的探讨，从而体现出他对人生的思考和对人性多样性的理解。他能够把握 &quot;时间精神&quot;(Zeitgeist)，并以他的亲身经历为材料创造了一部成熟的绝世之作，这不仅是为他的家庭、为清人、为中国人，更是为全人类。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:29, 26 December 2020 (UTC)Xiao Ting<br /> <br /> 曹雪芹充分了解自己所处的时代和中国的文化成就，熟悉社会的不同层次，是一个细致的观察者和娴熟的叙述者。他可能将小说的结局概念化为对小说中人物不同性格的讨论，从而表现出他对生活的反思和对人性多样性的心理理解。他能够把握“时代精神”(时代精神)，并以他的自传体经历，为他的家庭，为清朝人，为中国人，为人类创造了一部永恒的成长小说。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:01, 26 December 2020 (UTC)<br /> <br /> 曹雪芹对自己所处的时代和中国的文化成就了如指掌，他熟悉社会的不同层面，他是一个细致的观察者和娴熟的叙述者。因此，他在小说中对人的不同个性的理解和对小说中人物性格的多样性进行了概念化的探讨。他能够把握“时代精神”，用他的自传体经历，不仅为他的家庭，为清朝的中国人，为中国人民，而且为人类，创作了一部永恒的成人小说。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:43, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel ''Candide or Optimism''《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.<br /> 这种成熟的传统小说也是一个欧洲人,像启蒙哲学家伏尔泰在欧洲同时间出版的的小说《老实人》(1759)。伏尔泰笔下的老实人不得不离开童年的奢华天堂，为追求真爱而奋斗，但他的主要学习内容却更为悲观，因为伏尔泰的小说与莱布尼茨截然相反，莱布尼茨乐观地认为中国是“所有世界中最好的”。最近的研究发现，中国对欧洲启蒙哲学家的影响要大得多，我们可以肯定，曹雪芹对欧洲的一些文学传统也有所了解。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:34, 27 December 2020 (UTC)Xiao Xi<br /> <br /> ==Xiao Yining 肖伊宁==<br /> Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: ''Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802).<br /> <br /> 德国读者对主人公的生平及其发展、家族世代的命运都很熟悉，德国读者把这种类型的小说称为“教育小说”或“成长小说”。在德国,关于成长小说的体裁有着悠久的传统,它的形状更由单个字符,它更多的是被塑造为教师的单个人物(歌德：'Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802)。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 14:59, 27 December 2020 (UTC)Xiao Yining<br /> <br /> ==Xie Fan 解帆==<br /> Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in ''Wilhelm Meister'' this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''. <br /> <br /> '''6. Pornography and True Love, female rivals'''<br /> <br /> Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit.<br /> <br /> 与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，这通过莎士比亚的经典戏剧得以体现。传统可以作为方向标，但主人公的个性需要通过解放才能发展，这是一种智慧，我们可以以上提过包括《梦》的所有小说中学习。<br /> “6.色情与真爱，女性对手&quot;<br /> 性是人类的一种基本需求，在不同文化中展现出不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是有固定程式的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:37, 25 December 2020 (UTC)<br /> <br /> 与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，在《威廉·迈斯特》中，莎士比亚戏剧中复兴的经典作品代表了这一点。传统可以给予导向，但主人公的个性需要通过解放来发展是一种智慧，我们可以从包括《梦》在内的所有小说中学习。<br /> “6。色情与真爱，女性对手&quot;<br /> 性是人类的一种基本需求，在各种文化中形成了不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是程式化的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:37, 26 December 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> In the barock literature of the 17th century even the physical act is described extensively. <br /> <br /> According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.<br /> <br /> The best study on ''qing'' passion in the Dreams is the one by Anthony Yu, who understood it as ''desire'' and as the central motif of the ''Dreams''. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).<br /> <br /> ==Xu Jia 徐佳==<br /> In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).<br /> <br /> In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”<br /> <br /> Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.<br /> <br /> 在《梦》的框架故事中，叙述者有意识地站在了反对低级动作和刻板色情文学的立场上，也站在了反对普遍存在的言情小说的立场上（以美丽的才女和通过公务员考试最终获得地位和财富的穷书生为经典角色）。<br /> <br /> 在第一章中，他说：&quot;年轻人的真情实感......至今无人报道&quot;。<br /> <br /> &quot;情色场面以体面和联想的方式描述（&quot;云和雨的游戏&quot;），同时表现出另一种开放性，例如对双性恋的开放。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:35, 27 December 2020 (UTC)Xu Jia<br /> <br /> <br /> 在《梦》的框架故事中，叙述者有意识地反对低俗的动作和陈规定型的色情文学，反对流传甚广的浪漫小说（以美丽的才女和通过公务员制度最终获得受人尊敬的地位的穷困书生为经典角色）。<br /> <br /> 在第一章中，他说：“关于年轻人的真实感受，[……]到目前为止还没有人报道过。”<br /> <br /> 情色场景被描述成一个体面和联想的方式（“云和雨的游戏”），同时显示了另一个开放性的性质，例如对双性恋。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:03, 27 December 2020 (UTC)Xiao Yining<br /> <br /> ==Xu Jing 许晶==<br /> The ''Dreams'' narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.<br /> <br /> While Marián Galik saw as the central topic of both, the ''Dream'' and ''Faust'', the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”. <br /> <br /> ==Xu Jing 许静==<br /> In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in the Keller 凯勒 ''The Green Henry'' 《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth and Lin Daiyu are similar, e.g. they both strive for real love (Zhuang 2011).<br /> ==Xu Mengdie 徐梦蝶==<br /> '''7. Feudal society and slavery'''<br /> <br /> A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, would exclude slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals.<br /> <br /> 封建社会和奴隶<br /> 一种普遍的解释是，贾宝玉对家庭成员和奴隶一视同仁，这将成为奴隶解放的宣言。我并不同意这个解释，因为亚里士多德的民主就排除了奴隶的投票权。所以，我们并不能用现代观念去评判过去。在我看来，贾宝玉并不是和不平等作斗争，而是把人视作群体和个人。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 09:55, 25 December 2020 (UTC)Xu Mengdie<br /> <br /> 一种普遍的解释是，贾宝玉对家庭成员和奴隶的平等对待是解放奴隶的宣言。我也不同意这种解释，因为亚里士多德，当他要求民主的时候，会排除奴隶的投票权。所以我们不能用现代的概念来判断过去。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人看成是群体和个人。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:31, 25 December 2020 (UTC)<br /> <br /> 许多人认为，贾宝玉对家庭成员和仆人的平等对待是解放奴隶的宣言。我也不同意这种看法。因为当亚里士多德要求民主时，奴隶并没有投票权。所以我们不能用现代的概念来判断过去发生的事。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人分为是群体和个人。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:03, 27 December 2020 (UTC)<br /> <br /> 人们普遍认为贾宝玉对待家庭成员和奴隶的平等对待是解放奴隶的宣言。我不同意这种解释，因为亚里士多德吁民主时，会将奴隶从投票权中剔除。所以我们不能用现代观点评判古人。我认为，贾宝玉并不是在为不平等而做斗争，而是将人区分为人或是个体。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 12:02, 27 December 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> Also the understanding of the servants as slaves does not match the description in the Dream, since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with slave. Therefore, the translator preferred “servant” over “slave” in the translation.<br /> <br /> 另外，把仆人理解为奴隶也与《红楼梦》中所描述的不符，因为有些仆人自己也有仆人，他们离开贾家后，家人会照顾他们，为他们婚配，并且贾正把女儿迎春称为“丫头”，所以用奴隶来翻译这个词是不合适的。因此，译者在翻译中更倾向于“仆人”而不是“奴隶”。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:14, 25 December 2020 (UTC)Xu Pengfei<br /> <br /> 而且把仆人理解为奴隶与《红楼梦》中的描写不符，因为有些仆人自己还有仆人，贾府会在她们离府的时候为她们寻一门亲事，作为贾府对她们的照料；贾政也把自己的女儿迎春喊作 “丫头”， 所以把这些翻译成奴隶是不合适的。因此英文翻译中采用“servant”会比“slave”更为合适。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 10:08, 25 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Yang Chenting 杨晨婷==<br /> Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.<br /> <br /> 2009年，莫言代表中国作为主宾国参加法兰克福书展时，他在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的印象是，两者都没有表达这个愿望，但这是后来的概念和解释，而我们不应该以此来判断过去。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:36, 25 December 2020 (UTC)Yang chenting<br /> <br /> 2009年，莫言代表中国作为主宾国参加法兰克福书展时，在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的感觉是，两者都没有表达这个愿望，但这是后来的概念和解释，我们不应该以此来判断过去。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:43, 25 December 2020 (UTC)<br /> <br /> ==Yang Hairong 杨海容==<br /> '''8. Tragedy of all tragedies'''<br /> <br /> Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''.<br /> <br /> 8.所有悲剧的悲剧成分<br /> <br /> 亚里士多德在《悲剧论》（诗学VI）中解释说，悲剧使人们比喜剧更能吸引人，因为他们“模仿（mimēsis）一种严肃、完整和有程度的行动”（Aristotle 1971，51）。 欧洲的悲剧部分归因于亚里斯多德作品《喜剧》的丢失。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:16, 27 December 2020 (UTC)<br /> <br /> 8.所有悲剧含有的悲剧成分<br /> <br /> 亚里士多德在《悲剧论》（诗学VI）中解释道，悲剧之所以比戏剧更加动人，是因为它们“模仿（mimēsis）一种严肃、完整且具有一定规模的行动”（Aristotle 1971，51）。悲剧在欧洲拥有崇高地位部分归因于亚里士多德的作品《论喜剧》的失传。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:42, 27 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> While Europe has the Hamlet as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as &quot;tragedy of all tragedies&quot;. To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture. <br /> <br /> In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”.<br /> <br /> <br /> <br /> 尽管欧洲将“哈姆雷特”作为悲剧的悲剧，但长期以来中国传统文学中缺乏悲剧文学的现象一直令人遗憾。王国伟把“梦”看作“一切悲剧的悲剧”。对王国伟来说，浮士德和贾宝玉的苦难是小说的核心。然而，许多学者认为，浮士德主义是中国文化的核心。<br /> <br /> 在 18 世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:40, 27 December 2020 (UTC)<br /> <br /> 欧洲悲剧中以《哈姆雷特》为悲剧，而中国文学传统中悲剧文学的缺失，长期以来被人们所惋惜。王国维认为《梦》是“所有悲剧中的悲剧”。对王国维来说，浮士德和贾宝玉的苦难是小说的中心。然而，许多学者认为浮士德主义是中国文化的核心。<br /> <br /> 在18世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:36, 27 December 2020 (UTC)Xiao Xi<br /> <br /> ==Yang Yi 杨逸==<br /> It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> '''9. “Non-Binary” Novels'''<br /> <br /> One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.<br /> <br /> 9. “非二进制小说”<br /> <br /> 可爱而神秘的主角贾宝玉是吸引西方读者的其中一点。由于他开放的双性恋倾向以及对同伴的兴趣，无论他们的社会地位如何，他彰显“现代”气质或至少不属于那个时代。 他与传统学习的斗争使他显得富有同情心，他与世隔绝的漫长状态使他既具有永恒的品格又具有神秘感。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:17, 27 December 2020 (UTC)<br /> <br /> <br /> “非二元”小说<br /> <br /> 一个吸引西方读者的东西是可爱而神秘的主人公贾宝玉。由于他开放的双性恋倾向和他对伴侣的兴趣，不管他们的社会地位如何，他显得“现代”或至少在时间上流离失所。他与传统学习的斗争使他显得富有同情心，他从世界上长期的狂喜给了他永恒的性格和神秘的气息。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:43, 27 December 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.<br /> According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the ''Heart Sutra''. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically. <br /> <br /> ==Yao Cheng 姚诚==<br /> '''10. Foreign Cultures in the Red Chamber Dreams'''<br /> <br /> Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties, especially the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel.<br /> <br /> 10.红楼梦中的异邦文化<br /> 红楼梦中经常出现各种各样的异邦文化元素，例如许多贾府物品带有异国情调，并以新奇用品的形式呈现给贾府，尤其是提到的与宝玉同龄的金发女孩（结合了不同的来历和文化，包括欧洲，日本，中国），金发女孩也多次在绘画中出现，其中一次是为有翅膀的天使的形象。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:47, 27 December 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.<br /> <br /> ==Yi Huan 易欢==<br /> The variety of cultures is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the Red Chamber Dreams as “World Documentary Heritage”. <br /> <br /> '''References'''（参考文献不用翻译）<br /> <br /> Anthony, C. Yu. (2001). ''Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber''. Princeton University Press.<br /> <br /> Aristotle. (1971). ''Poetics''. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.<br /> <br /> Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). ''Der Traum der Roten Kammer oder Die Geschichte vom Stein'' [''Red Chamber Dreams or The Story of the Stone''], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition<br /> <br /> Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. ''Hong lou meng xue kan'' 6: 274-289<br /> <br /> Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. ''Journal of Sino-Western Communications'' 2 (2010.12) 2:81-107<br /> <br /> Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. ''Journal of Language Teaching and Research'', Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.<br /> <br /> ==Yi Zichu 义子楚==<br /> '''Virtual Communication Between Machines with the Human as Their Object<br /> '''<br /> <br /> A new stage of multimodal communication after oral, written, printed, electronic and machine-human communication<br /> <br /> Martin Woesler, Hunan Normal University<br /> <br /> '''Abstract'''<br /> <br /> Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role. <br /> <br /> ==You Yuting 游雨婷==<br /> This paper argues, that there is a fundamentally new media epoch of “virtual communication” (communication 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.). <br /> <br /> Algorithms do not only listen to oral or read written human communication (between humans or between humans and bots), but they analyze multimodal communication (including likes, behaviour, surfing habits, mobility profile, values, dreams, aims, beliefs etc.), compare them with Big Data (e.g. cloud data) and base decisions of manipulation on a prediction of behavior according to a personality profile and correlations.<br /> <br /> 本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管，人类成为分析和操纵的对象(如顾客、选民等)。<br /> <br /> 算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:34, 26 December 2020 (UTC)<br /> <br /> 本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管世界，人类成为分析和操纵的对象(如顾客、选民等)。<br /> <br /> 算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:47, 27 December 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> These algorithms target not only the explicit communications, but the emotions and thoughts of humans too and predict future behavior, therefore allowing simulations of reality. Mightier algorithms have also taken over decision-making roles in societies where they: replace human court decisions, fine tune just-in-time and on-demand production, censor chatrooms etc. Sets of algorithms help to manage smart cities and a whole society. <br /> <br /> 这些算法不仅针对明确的交流，也针对人类的情绪和思想，并预测未来的行为，因此允许模拟现实。更强大的算法也在社会中占据了决策角色：取代人类法庭的判决，及时微调和按需制作，审查聊天室等。一套算法有助于管理智慧城市和整个社会。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:34, 27 December 2020 (UTC)<br /> <br /> <br /> ----<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> Although the human is still part of the communication, especially as the analyzed object and the target of the manipulation, the human is often unaware of the virtual communication and a passive receiver of the machine’s decisions, while the main actors in the virtual communication are machines.<br /> <br /> <br /> 虽然人仍然是通信的一部分，特别是作为被分析的对象和操纵的目标，但是人往往没有意识到虚拟通信和机器决策的被动接受者，而虚拟通信的主要参与者是机器。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:55, 25 December 2020 (UTC)<br /> <br /> 尽管人类仍然是交流活动的一个组成部分，特别是作为被分析的对象和操纵的目标，但是人类往往没有意识到，自己是虚拟沟通和机器决策的被动接受者，而虚拟沟通的主导者是机器。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:11, 25 December 2020 (UTC)<br /> <br /> 虽然人仍然是构成通信的一部分，尤其是作为分析对象和操纵目标，但人往往没有意识到人们在虚拟通信中扮演机器决策的被动接受者，而机器才是主要参与者。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:42, 25 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> Research describes these forms of virtual communication, finds evidence in social management systems and credit systems (in Germany, we have the “Schufa”, in the USA there are big players in credit history, which leads to credit-orientation and gamification of human life) or customized (fake) news filter bubbles and in customized consumption offers (Amazon, Facebook, Google, Netflix) and analyzes benefits, including security enhancements through such virtual communication.<br /> <br /> 研究对这些形式的虚拟沟通进行了描述，在社会管理系统、信用系统（定制的（虚假）新闻筛选泡沫）和定制的消费商（亚马逊、脸书、谷歌、网飞）里面找到了证据（德国有“Schufa”，美国则因为信用史有重大人物而使得社会信用至上并日趋游戏化），并对益处加以分析，这些益处包含通过这类虚拟沟通提升安全。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:20, 25 December 2020 (UTC)<br /> <br /> 研究描述了这些虚拟通信的形式，在社会管理系统和信用系统中找到证据（在德国，我们有 &quot;Schufa&quot;，在美国有信用记录的大玩家，这导致了信用导向和人类生活的游戏化）或定制化（假）新闻过滤气泡，以及在定制化的消费优惠中（亚马逊，Facebook，谷歌，Netflix），并分析了好处，包括通过这种虚拟通信增强安全性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:03, 25 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> But research also has the duty to warn of abuse or harmful developments and to raise ethical questions. Exoskeletal ethics, imposed by gamifications like credit systems, especially need to be valued against intrinsic ethics.<br /> <br /> '''Introduction'''<br /> <br /> In this paper dealing with machine to machine communication, I skip the machines assisting humans to make their life more convenient (ranging from “The milk is out, please add the usual amount of milk to the delivery list,” to “The old lady has not left her bed this morning, I’ll better call the doctor”).<br /> <br /> <br /> 但研究也有责任对滥用或有害的发展发出警告，同时要对引起的伦理问题也要承担责任。特别是信用体系游戏化所造成的外骨骼伦理问题更需要得到重视，要反对内在的伦理问题。<br /> <br /> 引言<br /> <br /> 本论文在涉及机器与机器之间的交流时，我不考虑那些帮助人类让生活更便捷的机器（从“牛奶没了，请在送货单上加平常剂量的牛奶”到“老太太今早卧床不起，我最好叫医生吧”）。<br /> --[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:10, 25 December 2020 (UTC)<br /> <br /> 但研究也有责任对滥用或有害的发展提出警告，并提出伦理问题。特别是信用体系等游戏化所强加的外骨骼伦理，更需要对照内在伦理加以重视。<br /> <br /> 引言<br /> <br /> 在本文中涉及机器与机器之间的交流，我跳过了机器协助人类提高生活便利的内容（从 &quot;牛奶没了，请把平时的牛奶量加到送货单上&quot;，到 &quot;老太太今天早上还没下床，我还是叫医生吧&quot;。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:40, 26 December 2020 (UTC)Xiao Ting<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> Instead, I deal with communication like: “Let’s create a user personality profile and compare it with Big Data to learn how I can best catch this user’s attention and make him/her vote for presidential candidate A or B.”; “Let’s check this users’ mouse movements and compare it with Big Data to get a correlation to estimate if (and if “yes” when) he will get Parkinson, to decide whether or not to deny him the loan or health insurance.”<br /> 实际上，本人研究涉及的方面如下：比如，“让我们创建一名用户的个性化主界面，并将其与大数据进行比对，学习如何最好的吸引该用户的注意，让他/她投票给总统候选人甲或乙。”“让我们检查这名用户鼠标的运动轨迹，通过与大数据进行比对，建立关联，来估计他是否会得帕金森。如果他患有帕金森疾病，我们会决定是否需要对他的贷款或医疗保险的申请予以拒绝。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:41, 26 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> “Let’s check this users sexual orientation, religious beliefs, fears, secrets like adultery etc. to blackmail him to get ransom money for my programmer.”; or even “Let’s use this user’s location to aim the killer drone.”<br /> <br /> The current neoliberal system with Amazon, Facebook, WhatsApp, Instagram, Google, Netflix etc. provides incentives to collect as much user data as possible and to abuse user data for manipulation, which creates huge profits.<br /> <br /> “让我们检查该用户的性取向、宗教信仰、恐惧、诸如通奸之类的秘密去勒索他为我的程序员去获取赎金”。或者甚至“使用用户的位置瞄准杀手无人机。”<br /> <br /> 当前具有亚马逊、脸谱网、瓦茨艾普、照片墙、谷歌、奈飞等的新自由主义系统激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:04, 25 December 2020 (UTC)<br /> <br /> &quot;让我们查一查这个用户的性取向、宗教信仰、恐惧、通奸等秘密，以勒索他为我的程序员获取赎金。&quot;；甚至&quot;利用这个用户的位置来瞄准杀手无人机。&quot;<br /> 目前亚马逊、脸书、WhatsApp、Instagram、谷歌、奈飞等的新自由主义体系，为收集尽可能多的用户数据，并滥用用户数据，从而创造了巨大的利润。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:39, 25 December 2020 (UTC)Yang chenting<br /> <br /> “让我们检查该用户的性取向、宗教信仰、惧怕的事物、诸如通奸之类的秘密，从而勒索他让我的程序员获取赎金”。更有甚时，“让我们使用用户的位置让攻击机瞄准他。”<br /> <br /> 当前亚马逊、脸书、联络电话、Instagram、谷歌、网飞等的新自由主义的系统软件，激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:53, 26 December 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> Very much like the financial crisis, which was caused by the unregulated use of derivatives, this is a systemic development, which currently follows a path to enslave the human race under the control of algorithms for the benefit of tech companies. The enslavement has already begun, as we can see from the world wide addiction to social media, from the growing mass of conspiracy theorists and from the polarization of the USA over Trump or the polarization of Great Britain over the Brexit.<br /> <br /> 这与因不受监管地使用衍生品导致的金融危机非常相似。这是一个系统性的发展，它目前走的是一条用算法控制奴役人们，为科技公司谋利的道路。从全世界对社交媒体的沉迷，从越来越多的阴谋论者，从美国对特朗普的两极分化或英国对英国脱欧的两极分化，我们都可以看出，奴役已经开始。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:07, 27 December 2020 (UTC)<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> '''1 History of Media Epochs'''<br /> <br /> Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role. <br /> <br /> This paper argues, that there is a fundamentally new stage of “virtual communication” (media epoch 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).<br /> <br /> 卢曼和贝克尔描述了从口头（媒体时代1.0）到文字（2.0）的通讯发展，再到印刷（3.0）数字通讯（4.0）<br /> 在所有这些阶段中，科技都只起到了协助作用。<br /> <br /> 本文认为，从根本上来说，“虚拟沟通”处于新阶段（媒体时代5.0），其中人工智能（由人类初始化）已被接管，人类已成为分析和操纵的对象（如顾客，选民等）--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:56, 26 December 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> While Luhmann would still summarize this under digital communication, I see a full new quality here, and have therefore coined the term “communication 5.0” or “virtual communication” for it. In Luhmann’s view, the computer consists out of the “surface” of the machine (the visible interfaces like screen, keyboard, mouse) and the “depth” of the machine (the invisible, often incomprehensive inside).<br /> <br /> 虽然卢曼仍然会在数字通信中总结这一点，但我在这里看到了一个全新的品质，因此创造了术语“通信5.0”或“虚拟通信”。在卢曼看来，计算机是由机器的“表面”(屏幕、键盘、鼠标等可见界面)和机器的“内里”(看不见的、内部不全面的部分)组成的。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:41, 25 December 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> However, we are almost constantly producing data, with our chats and geotracked movements, with our addiction to social media, our carrying of cell phones and more and more smart devices at all times, and we are therefore an object of analysis by algorithms.<br /> <br /> The traditional setting of a communicative act blurs: The machine can directly communicate with the human (there the Turing test marks a threshold), and, after a certain complexity, it can hide its machine nature.<br /> <br /> 但是，我们几乎一直在通过聊天和地理位置追踪运动，不断沉迷于社交媒体，携带手机以及越来越多的智能设备来生成数据，因此，我们一直是通过算法进行分析的对象。<br /> <br /> 交流行为的传统设置变得模糊：机器可以直接与人类交流（图灵测试标记了阈值），并且在经过一定的复杂性之后，它可以隐藏机器的本质。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:49, 25 December 2020 (UTC)<br /> <br /> 然而，我们几乎在不断地产生数据，我们的聊天和地理追踪的动作，我们对社交媒体的沉迷，我们随时携带手机和越来越多的智能设备，因而成为算法分析的对象。<br /> <br /> 传统的交流行为的设定模糊了。机器可以直接与人类交流（图灵测试标志着一个门槛），在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:03, 25 December 2020 (UTC)<br /> 然而，我们几乎是在不断地产生数据，我们的聊天和追踪移动，我们对社交媒体的沉迷，我们无时无刻都带着手机和越来越多的智能设备，因此我们是算法分析的对象。<br /> 传统的交流行为设定是模糊的:机器可以直接与人类交流(图灵测试在这里标记了一个阈值)，并且在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:49, 27 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> The machine can also indirectly communicate with the human by simply analyzing humans’ verbal communication, non-verbal multimodal communication, behavior, personality etc. and interacting with the human with, or without, revealing its existence. A human, growing up in a filter bubble and believing in conspiracy theories is one such example: The human has been manipulated by social media and news which prefer lies over truth.<br /> <br /> 机器还可以通过简单地分析人类的语言交流、非语言的多模态交流、行为、个性等，并与人类进行交互，从而间接地与人类进行交流，从而揭示人类的存在。一个在过滤器泡沫中成长并相信阴谋论的人就是这样一个例子：人们被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:33, 27 December 2020 (UTC)<br /> <br /> 机器也可以通过简单地分析人类的语言交流、非语言多模态交流、行为、个性等与人类进行交流，或者间接地与人类进行互动，从而揭示人类的存在。一个在过滤气泡中长大、相信阴谋论的人就是这样一个例子:这个人一直被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:45, 27 December 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> Without even noticing that there was an interaction taking place between the human and the machine, the human has lost his/her independence to the machine.<br /> <br /> '''2 Types of communicative acts'''<br /> <br /> 1.Texts (oral and written comments/chat texts/blogs/emails)<br /> <br /> 2.Surf behavior (websites visited)<br /> <br /> 3.Consumer behavior (purchases)<br /> <br /> 4.Likes (see OCEAN, UEBA)<br /> <br /> 5.Duration/Attention (see UEBA)<br /> <br /> 6.habits/repetitiveness/occurrences (is an element of analysis in different AI apps/tools)<br /> 甚至没有注意到人与机器之间发生的互动，人已经失去了他/她对机器的独立性。<br /> <br /> &quot;两种类型的交际行为&quot;<br /> <br /> 1.<br /> 文本(口头和书面评论/聊天文本/博客/电子邮件)<br /> <br /> 2.<br /> 上网行为(浏览网站)<br /> <br /> 3.<br /> 消费者行为(购买)<br /> <br /> 4.<br /> 喜欢(参见OCEAN, UEBA)<br /> <br /> 5.<br /> 持续时间/关注(见UEBA)<br /> <br /> 6.<br /> 习惯/重复/出现(是不同AI应用/工具的分析元素)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:46, 27 December 2020 (UTC)<br /> <br /> ==Zhang Qi 张琪==<br /> 7.Unconscious, often unique data allowing identification (way of writing, mouse movements pattern, see Raj Kannan 2020)<br /> <br /> 8.social interaction incl. friendships, sexual relationships<br /> <br /> 9.mobility behavior/pattern (e.g. immediate environment – e.g. unconsciously recording the inside of houses while playing “Pokemon Go”), travel: Travel  Behavior (Yu Cui et al. 2018)<br /> <br /> <br /> 7，无意识且通常唯一的数据可以识别（书写方式，鼠标移动方式，请参见Raj Kannan 2020）<br /> <br /> 8.社交互动，包括 友谊，性关系<br /> <br /> 9.出行行为/模式（例如周围环境-例如在玩``口袋妖怪Go''时不自觉地记录房屋内部），旅行：出行行为（于翠等人，2018年）--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:24, 27 December 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> '''3 Types of analysis'''<br /> <br /> 1.General (User and Entity Behavior Analytics UEBA: AI-assisted cybersecurity tools like by Gartner, Inc.)<br /> <br /> 2.True identity (e.g.: mouse movements, face recognition, find real name) (Verschuere 2016)<br /> <br /> 3.Personality profile: Big Five Personality Inventory: Openness to Experience, Consciousness, Extroversion, Agreeableness, Neuroticism “OCEAN” (Golbeck 2011), by only analyzing the users' likes, Facebook can generate personality profiles (AI-Demand 2020)<br /> <br /> 4.Mobility profile/pattern<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> 5.Health situation (health apps, ai supported disease research, see Daley 2020)<br /> <br /> 6.Job situation/job market (Talent Search People 2020 analyzes the job market, and classifies 4 different AI systems: 1. systems that think like humans, 2. systems that act like humans, 3. systems that think rationally, and 4.) systems that act rationally.)<br /> <br /> 5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)<br /> <br /> 6.就业形势/就业市场（2020年《人才搜索人》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:33, 27 December 2020 (UTC)<br /> <br /> 5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)<br /> <br /> 6.就业形势/就业市场（《人才搜索人 2020》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:58, 27 December 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 7.Financial credit-worthiness: E.g. German Schufa company uses AI in addition to human expertise for evaluations, see Banken-Technologie 2020. Banken-Technologie 2020. Schufa’s attempt to gain access to customers’ bank account transfer information was discussed in the news.<br /> <br /> 8.Consumer Behavior: e.g. the &quot;clickworker&quot; company analyses and optimizes customers' searches in respect to a client company's goals/products with the help of AI (clickworker 2019)<br /> <br /> 9.Secrets (like adultery)<br /> <br /> ==Zhang Yu 张瑜==<br /> '''4 Unique quality of media epoch 5.0'''[ I have coined the terms “media epoch 5.0” and “virtual communication” I have developed it from concepts like „Industry 4.0“ in Germany and the four media epochs Luhmann and Baecker developed (by Baecker called 1.0 … 4.0). There are several authors speculating about the media epoch 4.0, like Ray Kurzweil. The Age of Intelligent Machines. 1990.]<br /> <br /> 1.the human switches from active to passive<br /> <br /> 2.the human switches from subject to object<br /> <br /> 3.the human becomes addicted to social media, which enhances depression (Van Den Eijnden et al. 2016, Jasso-Medrano et al. 2018, Shensa et al. 2017)<br /> <br /> 4.the human switches from puppeteer, or entity with seemingly free will, to puppet<br /> <br /> 5.nature of the internet turns from freedom to surveillance<br /> <br /> 4.媒介5.0时代的独特品质 [我创造了 &quot;媒介5.0时代&quot;和 &quot;虚拟通信 &quot;这两个词，它们是从德国的“工业4.0”以及卢曼和贝克提出的媒介4.0时代（贝克称之为1.0...4.0）等概念发展而来的。一些作者揣测媒介4.0时代这个词的含义，比如1990年出版的雷-库兹韦尔的《灵魂机器时代》]<br /> <br /> 1.人从主动到被动的转换<br /> <br /> 2.人从主体到客体的转换<br /> <br /> 3.人沉迷于社交媒体，提高了患抑郁症的风险<br /> <br /> 4.人从木偶操纵者或看似拥有自由意志的实体到木偶人的转换<br /> <br /> 5.互联网的性质从自由到监测的转换--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:25, 26 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 6.direct communication turns into indirect communication (humans may not be aware of this communication/analysis)<br /> <br /> 7.explicit communication (voice, words) turns into implicit communication (preferences/thoughts/dreams/wishes/ values (first experiments with brain scanners in worker hats have started in Shanghai and Peking))<br /> <br /> 8.man-man communication turns to man-machine communication (phone bot) to machine-machine<br /> <br /> 9.4.0 was from centralization to decentralization, 5.0 is partial centralization and partial decentralization, but also concentration<br /> <br /> 6，直接交流变成间接交流（人们自己可能没有意识到这种交流/分析）。<br /> <br /> 7，明确的交流（声音，文字）变成隐性的交流（偏好/想法/梦想/愿望/价值观（上海和北京已开始在工人的帽子上使用脑扫描仪进行首次实验））。<br /> <br /> 8，人与人之间的通信变成了人与机器之间的通信（电话机器人）再到机器与机器之间的通信。<br /> <br /> 9.4.0是从集中到分散，5.0是部分集中和部分分散，也有集中。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:52, 27 December 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> So far, mass media has been considered one-way. The interaction and processing of data of millions of individual users seemed simply too much work. In the age of virtual communication, the media epoch 5.0, mass media is individualized and interactive and therefore even more influential.<br /> <br /> '''5 Types of manipulation (consciously or unconsciously, sometimes half-consciously)<br /> '''<br /> <br /> 1.Priming by unconscious advertisements: Influencing consumer decisions<br /> <br /> 2.Filter bubbles =&gt; supports conspiracy theories, influences judgments<br /> <br /> 到目前为止，大众媒体一直被认为是单一的。数百万个人用户数据的交互和处理似乎太费力。在虚拟传播时代，即媒体时代5.0，大众传媒是个性化和互动的，因此更具影响力。<br /> <br /> '''5 种操纵类型（有意识或无意识，有时是半意识的）'''<br /> <br /> 1.无意识广告发布：影响消费者决策<br /> <br /> 2.过滤泡沫=&gt;支持阴谋论，影响判断--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:08, 26 December 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> 3.Nature of social media: lies spread 6 times faster than truth. (Vosoughi et al. 2018).<br /> <br /> 4.Change of political attitude: Case Cambridge Analytica: Helped minority to win election by manipulating young people of majority not to vote (Do so: Don’t vote campaign, Oddleifson 2020); Trump election and Brexit were won by manipulation<br /> <br /> 5.Use of private information/dependencies to obtain advantages (blackmailing for money or for conducting crimes etc.)<br /> <br /> 6.Identity theft<br /> <br /> <br /> 3.社交媒体的本质：谎言的传播速度比真理快 6 倍。（Vosoughi等人，2018年）。<br /> <br /> 4.改变政治态度：案例剑桥分析：通过操纵多数年轻人不投票帮助少数民族赢得选举 （这样做：不要投票竞选。奥德利夫森 2020年）；特朗普选举和英国脱欧通过操纵获胜<br /> <br /> 5.利用私人信息/依赖关系获取好处（勒索钱财或犯罪等）<br /> <br /> 6.身份盗窃--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:18, 27 December 2020 (UTC)<br /> <br /> 3.社交媒体的性质：谎言传播速度是真相的6倍。（Vosoughi等人，2018年）。<br /> 4.政治态度的改变：剑桥分析案例：通过操纵大多数年轻人不投票帮助少数人赢得选举（Do Do Do:Do not vote campaign，Oddleifson 2020）；特朗普选举和脱欧是通过操纵赢得的<br /> 5.利用私人信息/依赖性获取利益（勒索钱财或犯罪等）<br /> 6.身份盗窃--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:03, 27 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> '''6 Consequences'''<br /> <br /> 1.Virtual Communication is mostly “hidden”, the human is mostly unaware of it, but may endure the consequences (policeman may detain suspect simply because the face recognition glass recognizes a pedestrian passing by and assesses him/her as “dangerous”; loan is declined; insurance company declines to accept new customer)<br /> <br /> 6.后果<br /> <br /> 1.虚拟通讯大多是 &quot;隐蔽 &quot;的，人多半不知道，但可能会承受后果（警察可能仅仅因为人脸识别玻璃识别出路过的行人，并评估其为 &quot;危险 &quot;而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新的客户）--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:02, 25 December 2020 (UTC)<br /> <br /> 6.后果<br /> <br /> 1.虚拟通信通常是“隐藏的”，人类大多数情况下是不知道的，但可能会承受后果（警察可能只是因为面部识别玻璃杯识别出行人经过并将他/她评估为“危险”而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:05, 25 December 2020 (UTC)<br /> <br /> '''6.后果<br /> '''<br /> <br /> 1.大多情况下，虚拟通信是“隐藏的”，人类也没有意识到这一点，但可能会承担由此带来的后果（警察可能会因为面部识别玻璃检测到行人通过，并将其评估为“危险人物”而将嫌疑犯拘留‘贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 26 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> 2.User becomes transparent (government can fight terrorism, any user can be blackmailed, jealous spouse can check on adultery) <br /> <br /> 3.Less will to communicate and discuss (since positions are too far apart)<br /> <br /> 4.Populists and populist views gain supporters<br /> <br /> 5.Polarization of Society<br /> <br /> 6.There is an incentive not to reveal how much one knows about the object, because the object then could question the legality, the system etc.<br /> <br /> 7.Last resort, the thinking, is tackled: Machine interprets “real” attitudes, not lip-service words<br /> <br /> <br /> <br /> 2.用户变得透明化（政府可以反恐，任何用户都可以被拉黑，嫉妒的配偶可以查奸情）<br /> <br /> 3.交流讨论意愿较弱（因为立场相差太远）<br /> <br /> 4.民粹主义者和民粹主义观点获得支持者<br /> <br /> 5.社会的两极分化<br /> <br /> 6.有动机不透露自己对对象了解多少，因为对象就可能质疑合法性、制度等。<br /> <br /> 7.最后的手段—思维，已经被破解：机器解释的是 &quot;真实 &quot;的态度，而不是口头禅--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:03, 27 December 2020 (UTC)<br /> <br /> <br /> 2.用户变得透明（政府可以反恐，任何用户都可以被勒索，嫉妒的配偶可以调查奸情）<br /> <br /> 3.缺乏沟通和讨论的意愿（因为立场相差太远）<br /> <br /> 4.民粹主义者和民粹主义观点获得支持者<br /> <br /> 5.社会两极分化<br /> <br /> 6.有动机不透露自己对客体了解多少，因为客体可能会质疑其合法性、制度等。<br /> <br /> 7.最后一个办法是思考：机器解释的是“真实”的态度，而不是口头禅--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:42, 27 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> 8.The knowing ones (algorithms, hackers, controllers of algorithms) have power over the unknowing ones (victims)<br /> <br /> 9.Exoskeleton ethics (like points/awards for measurable performances) reduce incentives to build inner ethics<br /> '''<br /> 7 Simulation of the imminent future'''<br /> <br /> 1.The imminent future behavior of a human can be predicted<br /> <br /> 2.With many analyzed humans, the imminent future of reality can be predicted =&gt; simulation<br /> <br /> 8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量<br /> 9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机<br /> '''<br /> 7模8拟即将到来的未来<br /> 1.人类即将发生的未来行为是可以预测的<br /> 2.有了许多被分析的人类，现实的即将到来的未来可以被预测=&gt;模拟--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:00, 27 December 2020 (UTC)<br /> <br /> 8.已知的人（算法、黑客、算法的控制者）比未知im min的人（受害者）更有力量<br /> 9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机<br /> '''<br /> 7模拟迫近的未来<br /> 1.人类的迫近未来行为是可以预测的<br /> 2.在分析了许多人类后，我们便可预测现实的迫近未来=&gt;模拟--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:22, 27 December 2020 (UTC)<br /> <br /> 8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量<br /> 9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机<br /> '''<br /> 7模8拟即将到来的未来<br /> 1.人类即将发生的未来行为是可以预测的<br /> 2.通过大量分析人类，现实里马上到来的未来便可预测到=&gt;模拟--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:32, 27 December 2020 (UTC)<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> Is this an Orwellian dystopia or reality? Some cases of the above listed phenomena have been documented. However, we are still at the beginning of “little” AI development (optimizing existing processes) and on the brink of a much more powerful development, that of “big” AI (rethinking whole industries, being able to reproduce and enhance itself). (cf. Euchner 2019). <br /> <br /> ==Zhou Shuyao 周书尧==<br /> '''8 Conclusion and Outlook'''<br /> <br /> Data has succeeded oil as the most valuable resource for today’s economy. Big Tech companies already use users’ data and make big profits with it while legislation is delayed and national boundaries (which do not exist for the Tech companies) are struggled over.<br /> Although input-legitimized liberal democracies and market economies, like that of the European Union, still protect privacy and data security, US- and China-based technology companies are already penetrating the European market.<br /> <br /> <br /> '''8 结论与展望''' <br /> <br /> 数据已经取代石油成为当今经济中最有价值的资源。大型科技公司已经在使用用户的数据并从中牟取暴利，与此同时，立法被拖延，国界（不存在科技公司）正在为之苦苦挣扎。<br /> <br /> 尽管像欧盟这样的以输入合法化的自由民主国家和市场经济，仍然保护着隐私和数据安全，但是中美两国的科技公司已经开始渗透欧洲市场。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:59, 27 December 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> We need to raise awareness and guide the youth to be careful with screen time and what they share online. We need to avoid addiction to social media.<br /> <br /> '''The algorithms do not just check which film to suggest viewing next, they have started to invade the innermost sanctum of personality, our thoughts, dreams, wishes, visions, hopes, fears and secrets.<br /> '''<br /> '''<br /> The listed consequences document a fundamental change of paradigms: <br /> '''<br /> 我们需要提高意识，引导青少年注意屏幕时间和他们在网上分享的东西。我们需要避免沉迷于社交媒体。<br /> <br /> '''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''<br /> <br /> 所列出的后果证明了范式的根本变化:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:38, 26 December 2020 (UTC)<br /> <br /> 我们需要提高意识，引导青少年留意屏幕时间和网上分享，需要避免沉迷于社交媒体。<br /> <br /> '''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''<br /> <br /> 所列出的后果证明了范式的基本变化:--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:11, 26 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> '''The cause-based decision-making by humans with established institutions like politicians, judges etc. is being replaced with correlation-based decision-making by algorithms which often serve the profit interests of tech companies or the political interests of election-manipulators.<br /> '''<br /> <br /> AI took the wrong development path, when it changed from serving humans to trying to manipulate humans for economic or political profit. When AI is used to educate citizens – like helping German customers to keep a clean credit history and a good credit score – then it changes the behavior of citizens to an exoskeletal ethic.<br /> <br /> 人类通过建立政治、法官等制度所形成的原因导向的决策方法正在被算法形成的关联导向的决策方法所取代，算法通常为科技公司的利润利益或选举操纵者的政治利益服务。<br /> <br /> 人工智能走上了错误的发展道路，它从为人类服务变成了试图为了经济或政治利益而操纵人类。当人工智能被用于教育公民——比如帮助德国客户保持干净的信用历史和良好的信用评分——它就会改变公民的行为，使其成为一种外骨骼伦理。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:42, 27 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> However, animals with an exoskeleton reduce their inside muscles and develop a soft inside, making them totally incapable of living without the exoskeleton. An exoskeletal ethic, giving reward points, for example, for behavior which is deemed positive and subtracting points for behavior which is deemed negative, deprives the human of the natural learning and developing process, in a social environment, of his responsibility and inner ethical judgment. If you were to meet a human with exoskeletal ethics and one who has inner ethics, whom would you trust more? <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> If we want to avoid the consequences listed in point 6, the public needs to become aware of this and nations and supranational organizations need to define legislation to a) protect privacy and data security, and b) give the user the control over his/her data including the commercial use of it where they earn a share from the profit made with the usage of his/her data.<br /> <br /> ==Zhu Meimei 祝美梅==<br /> '''9 Outlook'''<br /> <br /> We need to accept, that the development is irreversible. Every new technology has created fears. Important is, that we become aware of the developments and adjust where the development heads into the wrong direction. We need set the right framework and incentives that the new technology stays on track to serve humanity.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> New developments open new possibilities. We need to make sure that not only a few tech companies and terrorists use this powerful new technology to achieve their goals, but that the mass of smart device users emancipate themselves from addiction to and manipulation by technology and gain back their dignity, privacy and free will.<br /> <br /> '''References<br /> '''<br /> （参考文献不用翻译）<br /> <br /> AI-Demand. (2020). www.ai-demand.com/insights/data/big-data/big-data-and-facebook-the-heavenly-pair-that-isnt-quite-in-heaven/<br /> <br /> Baecker, Dirk. (2007). ''Studien zur nächsten Gesellschaft''. Frankfurt 2007<br /> <br /> Banken-Technologie. (2020). 26. Handelsblatt Jahrestagung. Banken-Technologie. „New Normal” in der Finanzwirtschaft: digital – intelligent – automatisiert – hybrid. 2. und 3.12.2020, Digital [Conference Announcement] https://veranstaltungen.handelsblatt.com/bankentechnologie/ki-machine-learning-finanzanalyse/ <br /> <br /> Booth, T. &quot;Cambridge Analytica controversy must spur researchers to update data ethics.&quot; ''Nature'' 555.7698 (2018): 559-560.<br /> <br /> Clickworker. (2019). www.clickworker.com/2019/04/30/ai-for-ecommerce/<br /> <br /> Cui, Yu, Qing He, and Alireza Khani. (2018). Travel behavior classification: an approach with social network and deep learning. ''Transportation research record'', 2672(47), 68-80. https://par.nsf.gov/servlets/purl/10109453 <br /> <br /> Daley, Sam. (2020). 32 Examples of AI in Healthcare that Will Make you Feel better about the Future (July 4, 2019, updated July 29, 2020). builtin.com/artificial-intelligence/artificial-intelligence-healthcare<br /> <br /> Euchner, Jim. (2019). Little ai, Big AI—Good AI, Bad AI. Terminology Management 62:3, 10-12. pdf: <br /> <br /> https://www.tandfonline.com/doi/pdf/10.1080/08956308.2019.1587280?needAccess=true<br /> <br /> Golbeck, Jennifer, Cristina Robles, and Karen Turner. (2011). &quot;Predicting personality with social media.&quot; ''CHI'11 extended abstracts on human factors in computing systems''. 2011. 253-262.<br /> <br /> Jasso-Medrano, José Luis, and Fuensanta Lopez-Rosales. (2018). &quot;Measuring the relationship between social media use and addictive behavior and depression and suicide ideation among university students.&quot; Computers in Human Behavior 87: 183-191.<br /> <br /> Luhmann, Niklas. (1997). ''Die Gesellschaft der Gesellschaft''. 1997<br /> <br /> Oddleifson, Evan. 2020, The Effects of Modern Data Analytics in Electoral Politics: Cambridge Analytica’s Suppression of Voter Agency and the Implications for Global Politics, ''Political Sciences Undergraduate Review'' 5 (2020) 7, 1-7.<br /> <br /> https://journals.library.ualberta.ca/psur/index.php/psur/article/view/130/90/130-Article%20Text-642-1-10-20200401.pdf<br /> <br /> Raj Kannan, J., Sabitha, R., Karthik, S., &amp; Shanthini, J. (2020). Mouse Movement Pattern Based Analysis of Customer Behavior (CBA-MMP) Using Cloud Data Analytics. ''Wireless Personal Communications'', OnlineFirst, 1-17.<br /> <br /> Ruan, Lotus, et al. &quot;One App, Two Systems: How WeChat uses one censorship policy in China and another internationally.&quot; (2016).<br /> Shensa, Ariel, et al. (2017). &quot;Problematic social media use and depressive symptoms among US young adults: A nationally-representative study.&quot; ''Social Science &amp; Medicine ''182: 150-157.<br /> <br /> Talent Search People. (2020). How Will Artificial Intelligence Affect the Job Market? www.talentsearchpeople.com/en/blog/494-how-will-artificial-intelligence-affect-the-job-market/.<br /> <br /> Van Den Eijnden, Regina JJM, Jeroen S. Lemmens, and Patti M. Valkenburg. (2016). &quot;The social media disorder scale.&quot; ''Computers in Human Behavior ''61: 478-487.<br /> <br /> Verschuere, Bruno, and Bennett Kleinberg. &quot;ID‐check: Online Concealed Information Test reveals true identity.&quot; ''Journal of forensic sciences'' 61 (2016): S237-S240.<br /> <br /> Vosoughi, Soroush, Deb Roy, and Sinan Aral. (2018). The spread of true and false news online. Science 359.6380: 1146-1151.. science.sciencemag.org/content/359/6380/1146<br /> <br /> ==Zhu Xu 朱旭==<br /> '''Bio'''<br /> <br /> Martin Woesler, PhD, is Jean Monnet Chair in European Studies with Hunan Normal University since 2020. At its Foreign Studies College, he is Distinguished Professor of Chinese Studies, Translation Studies and Comparative Literature since 2019. Woesler was elected Academian of the European Academy of Sciences and Arts, Salzburg in 2019.<br /> Woesler has co-edited the books &quot;China's Digital Dream&quot;, &quot;Ethics of Information Society&quot; and Springer has scheduled to publish the book &quot;Diverse Voices in Chinese Translation and Interpretation&quot; including his book chapter &quot;Modern Interpreting with Digital and Technical Aids&quot; in February 2021.<br /> <br /> 个人简历<br /> <br /> 自2020年起，吴漠汀（Martin Woesler）博士是湖南师范大学欧洲研究的讲座教授。自2019年来，他在湖师大外国语学院担任中国文化研究、翻译研究和比较文学的特聘教授。2019年，吴教授当选萨尔茨堡欧洲科学与艺术学院院士。吴教授曾与人合编《中国的数字梦想》、《信息社会伦理学》等书。施普林格（Springer）已计划于2021年2月出版《中国笔译与口译中的多种声音》一书，其中包括他的《数字与技术辅助的现代口译》一章。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:26, 27 December 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> Woesler was a Senior Fellow of the German Science Foundation's (Deutsche Forschungsgemeinschaft) Research College &quot;Media Cultures of Computer Simulations&quot; 2019‐2020 and hosted a related workshop with Bertelsmann Foundation in 2020. Woesler is also a researcher with Witten/Herdecke University, Germany, investigating the impact of daily screen time of children and of young people on their health.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=File:Contemporary_Translation_Theories.docx&diff=119319 2020-12-27T12:41:13Z

<p>Sagara Seydou 3: </p> <hr /> <div></div>

Sagara Seydou 3 https://bou.de/u/index.php?title=Introduction_to_Translation_Studies&diff=119251 2020-12-27T08:12:50Z

<p>Sagara Seydou 3: /* Session 15: Contemporary Translation Theories */</p> <hr /> <div>Quicklinks: [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual]<br /> <br /> Welcome to our course website '''Introduction to Translation Studies'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is welcome!<br /> <br /> 欢迎访问我们“翻译导论课”的网页。…………<br /> <br /> =Organizational Things=<br /> *Please register for the Course Wiki.<br /> *Please prepare each session during the week before, so that you come prepared to class.<br /> <br /> Welcome Message on WeChat: 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、20级、方向）就好。Welcome to our course. I am excited to meet you on Monday online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). First, there are some organizational things to get everybody joining the class.<br /> In preparation, please register with our course wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TS_INTRO and edit the contents. You need to edit the course website every week to prepare the upcoming session. <br /> Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.<br /> <br /> =Edits=<br /> Every student is required to edit something every week. This can be:<br /> * Translate any English paragraph on this website from English to Chinese.<br /> * Correct an earlier translation.<br /> * Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.<br /> <br /> =Material=<br /> Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.<br /> <br /> *Bassnett, Susan. Translation studies. Routledge, 2013<br /> *Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 <br /> *Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.<br /> *Chen, Fukang. &quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&quot; (1992).<br /> *Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.<br /> *Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.<br /> *Huang, Chending黄振定. &quot;文学翻译评价的科学性及其科学论.&quot; 外国语 4 (1999): 49-56.<br /> *Huang, Chending 黄振定. &quot;翻译学是一门人文科学.&quot; 外语与外语教学 2 (1999): 33-35.<br /> *Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008<br /> *Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.<br /> *Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013<br /> *Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.<br /> *Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.<br /> *Pan Wenguo 潘文国. &quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&quot; 中国翻译 23.1 (2002): 31-34.<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> *Toury, Gideon. &quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&quot; Amsterdam/Philadelphia (1995).<br /> *Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.<br /> *Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Zhao, Wei 赵巍. &quot;翻译学学科性质与研究方法反思.&quot; 解放军外国语学院学报 28.6 (2005): 69-72.<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> '''Which paper or book should I read to prepare my presentation?'''<br /> <br /> Recommendations:<br /> <br /> Topic Book/Paper<br /> <br /> 1 Introduction <br /> <br /> 2 Emergence<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> <br /> 3a History of Translation <br /> *3a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.<br /> *3b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.<br /> *3c History of Chinese Translation Theories *陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.<br /> <br /> 4 Early understanding <br /> *Holmes, James. 1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam: Rodopi, 1988: 67-80.<br /> *Sourcebook Bassnett, Susan and Andre Lefevere. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, <br /> 1990.<br /> *Early linguistic theory Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.<br /> *Early important understanding Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.<br /> <br /> 5 Translation Studies<br /> *5a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. <br /> * 5b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.<br /> *5c Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.<br /> *5d Contemp. West. theories 廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.<br /> <br /> 6 Translation Theories<br /> * 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.<br /> *6a Methods Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.<br /> *6b Style 刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.<br /> *6c Translation Studies 许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.<br /> *6d TS 谭载喜. 翻译学[M]. 武汉：湖北教育出版社，2000年.<br /> <br /> 7 Theory and Practise <br /> *7a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.<br /> *7b Theory and Practise Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.<br /> *7c Textbook Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.<br /> *7d Theory and practice Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.<br /> *7e Translation Basics 刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.<br /> <br /> 8<br /> *8a “descriptive” Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia: John BenjaminB Publishing company, 1995.<br /> *8b Culture Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.<br /> *8c Invisibility Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.<br /> *8d Constructivism Research 易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.<br /> <br /> 9 Theories<br /> *9a East-West comparison 刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.<br /> *9b English-Chinese TS 蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.<br /> <br /> =Main class project=<br /> Please help to edit the publication [[History of Translation Studies]].<br /> <br /> =Schedule=<br /> '''All sessions''': 1 9/21 Organizational things, 2 Emergence, 3 History, 4 Development, 5 Early literary examples, 6 early theories, 7 (Western) Theories, 8 Methods, 9 Style, 10 Translation Studies, 11 Theory and Practice, 12 Different Aspects, 13 East West comparison, 14 Strategies, 15 Contemporary Translation Theories, 16 Final Discussion <br /> <br /> ==1st Session==<br /> Introduction to the course. Organizational things. Working with the Wiki.<br /> <br /> === Homework from Session 1 due on Sep 27, 2020 ===<br /> <br /> 1. Every student should translate 1 sentence of a paper on Qing Translation Policies. Here is the [[20200921_trans|homework page]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200921_trans|here]].<br /> <br /> 3. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!<br /> <br /> ===Homework for later===<br /> 4. Write a final exam paper as a chapter of the book &quot;Translation Studies&quot;. It has to be a new topic, not yet used in the book. I will upload the book here later. You can participate in writing this book.<br /> <br /> 5. Get familiar with the pdfs I send you on WeChat group as learning material.<br /> <br /> ==2nd Session: Emergence==<br /> <br /> ===Session 2, Topic 1: 人类起源 The emergence of translation and interpretation===<br /> *Handout for download [[Media:The_emergence_of_translation_and_interpretation.doc|Global Emergence of Interpretation and Translation]] by 彭锐宏<br /> *Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)<br /> <br /> ===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===<br /> *Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> *Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> <br /> ===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===<br /> *Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> *Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> <br /> ===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===<br /> *Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> *Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> <br /> ===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===<br /> 1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].<br /> <br /> ==3rd Session: History==<br /> <br /> ===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===<br /> *Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 2: 中国翻译史代表人物The Representatives in Chinese Translation History===<br /> *Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===<br /> *Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX<br /> *Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting<br /> <br /> ===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===<br /> *Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星<br /> <br /> ==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201005_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].<br /> <br /> ==Session 4: Development==<br /> <br /> ===Session 4, Topic 1: 西方翻译史 Western translation history===<br /> *Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===<br /> *Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===<br /> *Handout for download: [[Media:...docx|History of Western Translation Theory]] by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> * Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]] by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> <br /> ===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===<br /> *Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===<br /> *Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===<br /> *Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===<br /> *Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===<br /> *Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)<br /> <br /> ==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===<br /> <br /> 1. Every student should translate a short passage of a paper on the Chinese essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201012_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].<br /> <br /> 3. Take part in an online survey. The survey is currently prepared by the fellow students.<br /> <br /> ==Session 5: ==<br /> <br /> ===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===<br /> *Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining<br /> *Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei<br /> <br /> ===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===<br /> *Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)<br /> <br /> [[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)<br /> <br /> ===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===<br /> *Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen<br /> *Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi<br /> <br /> Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.<br /> <br /> ===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===<br /> *Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu<br /> <br /> ===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===<br /> *Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)<br /> <br /> ===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===<br /> *Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)<br /> <br /> ==Session 6: Early Theories==<br /> <br /> <br /> <br /> ==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201019_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].<br /> <br /> ===Session 6, Topic 1: 巴斯奈特文化翻译观 The Cultural Translation Theory of Bassnett===<br /> <br /> Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie<br /> <br /> ===Session 6, Topic 2: 中国早期代表性佛经翻译理论 Early Representative Theories of Buddhist Scriptures Translation in China===<br /> <br /> Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式 The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===<br /> <br /> Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing<br /> <br /> Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu<br /> <br /> ===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》 A Linguistic Theory of Translation of J.C.Catford===<br /> <br /> Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===<br /> Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)<br /> <br /> Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 6: 系统翻译理论的早期尝试 Early Attempts at Systematic Translation Theory===<br /> <br /> Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)<br /> <br /> =Session 7: Western theories=<br /> <br /> ===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201026_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].<br /> <br /> ===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===<br /> <br /> Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 2: 多元系统理论 Polysystem Theory===<br /> <br /> Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===<br /> <br /> Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 4： 布拉格学派 Prague School===<br /> <br /> Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 5： 目的论 Skopos Theory===<br /> <br /> Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan<br /> <br /> Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling<br /> <br /> ===Session 7, Topic 6： 语言学派 Linguistic School===<br /> <br /> Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)<br /> <br /> Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)<br /> <br /> =Session 8: Methods=<br /> <br /> ===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201102_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].<br /> <br /> ===Session 8, Topic 1： 正说反译与反说正译 Negation===<br /> Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===<br /> Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===<br /> Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===<br /> Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)<br /> Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 5： 增译与减译 Amplification and Omission===<br /> Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing<br /> <br /> ===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===<br /> Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)<br /> Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)<br /> <br /> =Session 9: Style=<br /> <br /> ===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201116_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].<br /> <br /> ===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===<br /> <br /> Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)<br /> <br /> ===Session 9, Topic2 : 科技翻译 Scientific Style===<br /> <br /> Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===<br /> <br /> Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===<br /> Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 5: 翻译与风格 Translation and Style= ==<br /> Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang<br /> <br /> Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu<br /> <br /> [[Media:Example.ogg]]<br /> <br /> =Session 10: Translation Studies=<br /> <br /> ===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201123_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].<br /> <br /> ===Session 10,Topic 1: 翻译转换 Translation Shifts===<br /> Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===<br /> Classroom presentation for download:[[Media:Decoding and Recoding.pptx]]--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:33, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Decoding and Recoding.docx]]--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 04:32, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 3: 视听翻译 Audiovisual Translation===<br /> Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC) - READ BY NIE XIAOLOU<br /> <br /> Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 4: 对钱钟书“化境说”的理论研究 The Translation Studies of Qian Zhongshu’s Theory of Huajing===<br /> [[Media:Handout-The Translation Studies of Qian Zhongshu’s theory of Huajing.docx]]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:38, 23 November 2020 (UTC)<br /> <br /> [[Media:The Translation Studies of Qian Zhongshu’s theory of Huajing.pptx]]--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 05:40, 23 November 2020 (UTC)<br /> <br /> ===Session 10, Topic 5: 英汉被动语态对比研究及其翻译策略 Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies===<br /> Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.pptx]] --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====<br /> <br /> Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Untranslatability &amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)<br /> <br /> =Session 11: Theory and Practice=<br /> <br /> ===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201130_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201130_trans|here]].<br /> <br /> ===Session 11,Topic 1: 功能对等理论对商标翻译的影响 The Effect of the Equivalence Theory on Trademark Translation===<br /> <br /> Classroom handout for download:[[Media:Handout.The Theory and Practice.docx]]--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:38, 30 November 2020 (UTC)Pengjuan<br /> <br /> Classroom presentation for download:[[Media:The Effect of the Equivalence Theory on Trademark Translation.pptx]]--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 08:08, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===<br /> <br /> Classroom handout for download：[[Media:Handout.The Practice of Foreignization and Domestication.docx]]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 01:21, 30 November 2020 (UTC)Wu Zijia<br /> <br /> Classroom presentation for download:[[Media:Translation practice in domestication and foreignization.pptx]]--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:00, 29 November 2020 (UTC)Lei Kuangxi<br /> <br /> ===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===<br /> <br /> Classroom handout for download：[[Media:Skopos Theory and its Applications.docx]]--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:08, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download：[[Media:Skopos Theory and its Applications.pptx]]--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 05:16, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation=== <br /> <br /> Classroom handout for download:[[Media:The Semantic Translation and Communicative Translation.docx]]--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 16:30, 29 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:The Semantic Translation and Communicative Translation.ppt]]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:56, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 5: 奈达的功能对等理论及其在科技文英译汉中的应用 Nida's Functional Equivalence Theory and its Application in E-C Translation of EST===<br /> <br /> Classroom handout for download：[[Media:Nida’s_Functional_Equivalence_Theory_and_its_Application_in E-C_Translation_of_EST.docx]]--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:03, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory and its Application in E-C Translation of EST.pptx]]--[[User:Zhou Yuanqu|Zhou Yuanqu]]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:25, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 6:女性主义翻译 The Feminist Translation===<br /> <br /> Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)<br /> <br /> Classroom presentation：[[Media:Feminist Translation.pptx]]<br /> <br /> =Session 12: Different Aspects=<br /> <br /> ===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201207_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201207_trans|here]].<br /> <br /> ===Session 12, Topic 1: 政论文翻译 Translation of Political Text===<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.docx]]--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:21, 4 December 2020 (UTC)<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.pptx]] By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 12:30, 4 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 2: 诗歌翻译 Poem Translation===<br /> Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)<br /> <br /> <br /> [[Media:Poem_Translation_handout.docx]] by Zhang Yujie&amp; Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 3: 旅游翻译 Tourism Translation===<br /> Classroom handout for download:[[Media:Tourism Translation.pptx]] by Tan Xinjie &amp; Wei Yafei --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei <br /> <br /> <br /> [[Media:Tourism_Translation_handout.docx]] by Tan Xinjie &amp; Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei<br /> <br /> =Session 13: East West comparison=<br /> <br /> ===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201214_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201214_trans|here]].<br /> <br /> ===Topic 1:严复和泰特勒翻译标准之对比 A Comparison between Yan Fu's and Tytler's Translation Criteria===<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.pptx]]--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:15, 14 December 2020 (UTC)Tang Ming<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.docx]]--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 06:52, 14 December 2020 (UTC)Ou Rong<br /> <br /> ===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.pptx]] by Liu Yi.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:38, 6 December 2020 (UTC)<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.doc]] by Tan Yuanyuan.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 15:47, 6 December 2020 (UTC)<br /> <br /> ===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===<br /> [[Media:Handout-The Influence of Chinese and Western Cultural Differences on Translation.doc]] by Yang Yue--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:10, 10 December 2020 (UTC)<br /> [[Media:The Influence of Chinese and Western Cultural Differences on Translation.pptx]] by Yi Zichu--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 05:01, 10 December 2020 (UTC)<br /> <br /> ===Topic 4:中国佛经翻译与圣经翻译的比较Comparison Between the translation of Buddhist scriptures of China and Bible translation===<br /> [[Media:The Comparison of the Chinese translation of Buddhist Scriptures and Bible translation.pptx]]by Xiao Ting--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:54, 13 December 2020 (UTC)Xiao Ting<br /> <br /> [[Media:The Comparison of the Chinese Translation of Buddhist Scriptures and Bible Translation.docx]]--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:07, 13 December 2020 (UTC)Xu Jia<br /> <br /> ===Topic 5:20世纪中叶以来中西翻译理论对比 Comparison of Chinese and Western translation theories since the mid-term of the 20th century===<br /> <br /> [[Media:Comparison of Chinese and Western translation theories since the mid-term of the 20th century by Mo Ling.pptx]]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:38, 11 December 2020 (UTC)Mo Ling<br /> <br /> [[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]<br /> <br /> ===Topic 6；中西思维方式差异在翻译中的体现——以习语为例 The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example===<br /> <br /> Classroom handout for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.docx]]--[[User:Chen Sha|Chen Sha]] --[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.pptx]] By Chen Jiangning --[[User:Chen Sha|Chen Jiangning]]--[[User:Chen Sha|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> =Session 14: Strategies=<br /> ===Homework from Session 13 (Dec 14, 2020), for Session 14 due on (Dec 21, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201221_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201221_trans|here]].<br /> <br /> ===Topic 1；阿拉伯大征服时代与翻译学 The Era of Arab Conquest and Translatology===<br /> <br /> Classroom handout for download: [[Media:The Era of Arab Conquest and Translatology.docx]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Era of Arab Conquest and Translatology.ppt]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> ===Topic 2；韦努蒂的抵抗式翻译策略 Resistancy Translation Strategy—Lawrence Venuti===<br /> <br /> Classroom handout for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.docx]] Tang Yiran&amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC) <br /> <br /> Classroom presentation for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.ppt]] Tang Yiran&amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC)<br /> <br /> ===Topic 3；英日译本对照--以《雪国》为例The Contrast of Japanese-English Translation--Taking &quot;Snow Country&quot; as an Example===<br /> <br /> Classroom handout for download: [[Media:The Contrast of Differences in Japanese-English Xie Ziyi&amp; Peng Yongliang.docx]] <br /> --[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Contrast of Differences in Japanese-English Xie Ziyi&amp; Peng Yongliang.pptx]] <br /> --[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)<br /> <br /> =Session 15: Contemporary Translation Theories=<br /> <br /> ===Homework from Session 14 (Dec 21, 2020), for Session 15 due on (Dec 28, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201228_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201228_trans|here]].<br /> <br /> <br /> ===Topic 1 Contemporary Translation Theories ===<br /> <br /> Classroom handout for download: [[Media:Contemporary Translation Theories.docx]] <br /> <br /> <br /> Classroom presentation for download: [[Media:Contemporary Translation Theories.pptx]] <br /> --[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:07, 27 December 2020 (UTC)<br /> <br /> =Session 16: Final Discussion=<br /> <br /> ==List of topics for presentations and handouts in class==<br /> 1 Emergence: <br /> 孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源<br /> <br /> 2 History: <br /> 周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史<br /> <br /> 3 Development: <br /> 韩宛真 邓锦霞: 机器翻译的发展; 蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展<br /> <br /> 4 Early Literary Examples: <br /> 许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟<br /> <br /> 5 Early Theories: <br /> 徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试<br /> <br /> 6 (Western) Theories: <br /> 康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派<br /> <br /> 7 Methods: <br /> 甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦<br /> <br /> 8 Style: <br /> 孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳<br /> <br /> 9 Translation Studies: <br /> 罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略<br /> <br /> 10 Theory and Practice: <br /> 彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓 王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅; 阳慧 张佩闻; <br /> <br /> 11 Different Aspects: <br /> 周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; <br /> <br /> 12 East West Comparison: <br /> 唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳：中国佛经翻译和圣经翻译的比较; 莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异在翻译中的体现--以习语为例。<br /> <br /> 13 Strategies: <br /> 吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠<br /> <br /> 14 Contemporary translation Theories: <br /> Sagara Seydo Nguyen, Thuy Hien (Helen)<br /> <br /> ==List of Topics for final exam papers in Translation Studies==<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Ideas<br /> *literal vs. free<br /> *Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization<br /> *unit of translation<br /> *contrastive analysis<br /> *the equivalence problem (functional, dynamic)<br /> *translatability vs untranslatability <br /> *SLT vs TLT relation<br /> *translation types, strategies, styles, methods<br /> *communication factors, translator role in social setting<br /> *cognitive factors<br /> *machine translation<br /> *translation quality assessment<br /> *translation ethics / manipulation etc.<br /> <br /> <br /> Suggested topics for final exam papers (chapters of book on translation studies)<br /> <br /> Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.<br /> <br /> Here is the link to the list: [[Topics in Translation Studies]]<br /> <br /> =Final Exam Papers=<br /> &lt;span style=&quot;color:red&quot;&gt;The deadline has been extended to '''Dec 21, 2020'''. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until Dec 19. The author then finalizes (works in the suggestions) until the final deadline Dec 21!&lt;/span&gt;<br /> ==Structure==<br /> 需要有topic、学生姓名、学号、专业、Abstract、Key words、题目、摘要、关键词、不同的章回（比如1. Introduction、2. Nida’s Theory、3. ……、4.……、5. Conclusion、References)、然后还需要每个阶段以后有来源。一个阶段不要超过100英文词。每个章回会有几个阶段没问题。每个阶段以后需要一个同学的这个阶段的修改。<br /> <br /> ==Tips for writing your final exam paper: How to indicate your references==<br /> *You can use the existing book chapters here as an example.<br /> *Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Do '''not''' write any references like in one of the sample chapters:<br /> <br /> [1] dsalkfkdsa<br /> <br /> [2] adsfadsfag<br /> <br /> But only the following way:<br /> <br /> (Liu Miqing 2010, 17) in the text<br /> <br /> and then<br /> <br /> '''References'''<br /> *Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学.<br /> <br /> Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):<br /> = = Topic = =<br /> &lt; c e n t e r &gt; Student Name, Student no. &lt; / c e n t e r &gt;<br /> = = = Abstract = = =<br /> This chapter is on ....<br /> = = = Key Words = = =<br /> Egg, Hen<br /> = = = 题目 = = =<br /> = = = 摘要 = = =<br /> = = = 关键词 = = =<br /> = = = Introduction = = =<br /> Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.<br /> = = = The Egg = = =<br /> Bla, bla, bla<br /> = = = The Hen = = =<br /> Bla, bla, bla<br /> = = = Conclusion = = =<br /> Bla, bla, bla<br /> = = = References = = =<br /> Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT <br /> <br /> ==Sample papers==<br /> You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with &quot;Sample paper&quot;.<br /> * A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories<br /> * An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications<br /> * Comparative Study on Functional Equivalence Theory and Skopos Theroy<br /> * Comparison of Derrida’s and Benjamin’s Translation View<br /> * Impacts of Western Translation Theories on The Translator’s Guide to Chinglish<br /> * On the Comparison between &quot;Sublimation&quot; an &quot;Functonal Equivalence&quot; Theories<br /> * Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics<br /> * The Translation of Culture-loaded Words in Chinese-English Communication<br /> * Translators' Views on Translation Influence Their Translation Behavior<br /> <br /> ==Websites to write your final exam paper on==<br /> The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).<br /> <br /> ==Here you can write your Final Exam Papers==<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_3 Part 3, students: 蒋凤仪 Jiang Fengyi， 雷旷溪 Lei Kuangxi, 郑华君 Zheng Huajun, 文晓艺 Wen Xiaoyi, 陶冶 Tao Ye, 孔亚楠 Kong Yanan, 陈江宁 Chen Jiangning]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_4 Part 4, students: 杨海容 Yang Hairong，游雨婷 You Yuting，王源 Wang Yuan，徐佳 Xu Jia，凌子瑾 Ling Zijin，石迪文 Shi Diwen，张玲 Zhang Ling，曾心媛 Zeng Xinyuan，姚诚 Yao Cheng，朱旭 Zhu Xu，许鹏飞 Xu Pengfei，赵晓燕 Zhao Xiaoyan，张琪 Zhang Qi，周园曲 Zhou Yuanqu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_5 Part 5, students: 李玉 Li Yu，林敏 Lin Min，文偲荇 Wen Sixing， 周诗卿 Zhou Shiqing，朱素瑶 Zhu Suyao，胡百辉 Hu Baihui，马智星 Ma Zhixing, 胡瑾 Hu Jin，张毓婕 Zhang Yujie，顾东方 Gu Dongfang，高明珠 Gao Mingzhu，张虎 Zhang Hu，李璐伊 Li Luyi，袁诗琦 Yuan Shiqi，王美玲 Wang Meiling，康浩宇 Kang Haoyu，王轩 Wang Xuan，陈永相 Chen Yongxiang，莫玲 Mo Ling，袁天翼 Yuan Tianyi]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_6 Part 6, students:汤蓓 Tang Bei欧蓉 Ou Rong，谭星越 Tan Xingyue，周罗平 Zhou Luoping，龚钰冕 Gong Yumian，邹鑫雨 Zou Xinyu， 陈惠 Chen Hui，罗雨晴 Luo Yuqing，谭鑫洁 Tan Xinjie]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_7 Part 7, students:曾雁湖 Zeng Yanhu，邓锦霞 Deng Jinxia，姜好 Jiang Hao，管钦清 Guan Qinqing，唐铭 Tang Ming，娄灿灿 Lou Cancan，丁代凤 Ding Daifeng，苏琳 Su Lin，徐佳 Xu Jia， 刘艺 Liu Yi，李凌月 Li Lingyue，马娟 Ma Juan，吴琪 Wu Qi，姚佳 Yao Jia，李海泉 Li Haiquan，吴琼 Wu Qiong，杨子泠 Yang Ziling，林敏 Lin Min，彭锐宏 Peng Ruihong ，汤伊然 Tang Yiran，阳慧 Yang Hui，刘智伟 Liu Zhiwei]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_8 Part 8, students: 王煜 Wang Yu，方洁玲 Fang Jieling，许静 Xu Jing，周书尧 Zhou Shuyao，彭永亮 Peng Yongliang，宋建茹 Song Jianru，韦洪朗 Wei Honglang，魏亚菲 Wei Yafei，张雪仪 Zhang Xueyi，甘奉玉 Gan Fengyu，赵茜 Zhao Xi，吴恺 Wu Kai，周艺文 Zhou Yiwen，张维虹 Zhang Weihong，司妤 Si Yu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_9 Part 9, students: 易欢 Yi Huan，曾良 Zeng Liang，义子楚 Yi Zichu，欧阳玲 Ouyang Ling，石海瑶 Shi Haiyao，胡慧芳 Hu Huifang，吴一露 Wu Yilu，纪甜甜 Ji Tiantian, 桂一枝 Gui Yizhi，刘欧 Liu Ou，祝美梅 Zhu Meimei，谭媛媛 Tan Yuanyuan，张银柳 Zhang Yinliu，李泳珊 Li Yongshan，聂晓楼 Nie Xiaolou]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_10 Part 10, students:陈静静 Chen Jingjing， Thuy Hien Nguyen Thuy Hien，肖茜 Xiao Xi，余妮 Yu Ni，韩宛真 Han Wanzhen，陈佳欣 Chen Jiaxin，成于思 Cheng Yusi，方洁玲 Fang Jieling，张慧 Zhang Hui，吴子佳 Wu Zijia，孔祥慧 Kong Xianghui，许晶 Xu Jing，周玉娟 Zhou Yujuan，曹润鑫 Cao Runxin，肖伊宁 Xiao Yining, Sagara Seydou，欧阳静兰 Ouyang Jinglan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_11 Part 11, students:李丽琴 Li Liqin, 张瑜 Zhang Yu, 刘怡瑜 Liu Yiyu, 李梦 Li Meng, 林鑫 Lin Xin, 罗维嘉 Luo Weijia, 漆凯 Qi Kai, 郭露 Guo Lu，张宇星 Zhang Yuxing, 陈涵 Chen Han, 李丽丽 Li Lili, 刘柳 Liu Liu, 陈莎 Chen Sha, 徐梦蝶 Xu Mengdie,彭丹 Peng Dan， 谢子熠 Xie Ziyi，莫南 Mo Nan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_12 Part 12, students: 全美欣 Quan Meixin，何长琦 He Changqi，刘博 Liu Bo，刘金惺琦 liu Jinxingqi，谌孙福 Chen Sunfu，曾芳缘 Zeng Fangyuan，肖婷 Xiao Ting，常慧月 Chang Huiyue，彭娟 Peng Juan，彭小玲 Peng Xiaoling，杨悦 Yang Yue，肖双玲 Xiao Shuangling，彭育志 Peng Yuzhi，孟莹 Meng Ying]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_13 Part 13, students: 杨晨婷 Yang Chenting, 康灵凤 Kang Lingfeng，杨逸 Yang Yi, 马淑雅 Ma Shuya, 雷方圆 Lei Fangyuan, 张佩闻 Zhang Peiwen]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_14 Part 14, students:周思庆 Zhou Siqing，蒋淇玮 Jiang Qiwei，瞿淼 Qu Miao，韩海洋 Han Haiyang，刘金惺琦 liu jinxingqi，解帆 Xie Fan，刘洋诺 Liu Yangnuo，袁雨晨 Yuan Yuchen，邬香 Wu Xiang]<br /> <br /> =Benefits=<br /> This course is registered as a &quot;EU Expert&quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=Introduction_to_Translation_Studies&diff=119250 2020-12-27T08:07:21Z

<p>Sagara Seydou 3: /* Session 15: Contemporary Translation Theories */</p> <hr /> <div>Quicklinks: [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual]<br /> <br /> Welcome to our course website '''Introduction to Translation Studies'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is welcome!<br /> <br /> 欢迎访问我们“翻译导论课”的网页。…………<br /> <br /> =Organizational Things=<br /> *Please register for the Course Wiki.<br /> *Please prepare each session during the week before, so that you come prepared to class.<br /> <br /> Welcome Message on WeChat: 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、20级、方向）就好。Welcome to our course. I am excited to meet you on Monday online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). First, there are some organizational things to get everybody joining the class.<br /> In preparation, please register with our course wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TS_INTRO and edit the contents. You need to edit the course website every week to prepare the upcoming session. <br /> Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.<br /> <br /> =Edits=<br /> Every student is required to edit something every week. This can be:<br /> * Translate any English paragraph on this website from English to Chinese.<br /> * Correct an earlier translation.<br /> * Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.<br /> <br /> =Material=<br /> Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.<br /> <br /> *Bassnett, Susan. Translation studies. Routledge, 2013<br /> *Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 <br /> *Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.<br /> *Chen, Fukang. &quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&quot; (1992).<br /> *Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.<br /> *Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.<br /> *Huang, Chending黄振定. &quot;文学翻译评价的科学性及其科学论.&quot; 外国语 4 (1999): 49-56.<br /> *Huang, Chending 黄振定. &quot;翻译学是一门人文科学.&quot; 外语与外语教学 2 (1999): 33-35.<br /> *Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008<br /> *Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.<br /> *Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013<br /> *Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.<br /> *Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.<br /> *Pan Wenguo 潘文国. &quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&quot; 中国翻译 23.1 (2002): 31-34.<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> *Toury, Gideon. &quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&quot; Amsterdam/Philadelphia (1995).<br /> *Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.<br /> *Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Zhao, Wei 赵巍. &quot;翻译学学科性质与研究方法反思.&quot; 解放军外国语学院学报 28.6 (2005): 69-72.<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> '''Which paper or book should I read to prepare my presentation?'''<br /> <br /> Recommendations:<br /> <br /> Topic Book/Paper<br /> <br /> 1 Introduction <br /> <br /> 2 Emergence<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> <br /> 3a History of Translation <br /> *3a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.<br /> *3b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.<br /> *3c History of Chinese Translation Theories *陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.<br /> <br /> 4 Early understanding <br /> *Holmes, James. 1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam: Rodopi, 1988: 67-80.<br /> *Sourcebook Bassnett, Susan and Andre Lefevere. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, <br /> 1990.<br /> *Early linguistic theory Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.<br /> *Early important understanding Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.<br /> <br /> 5 Translation Studies<br /> *5a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. <br /> * 5b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.<br /> *5c Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.<br /> *5d Contemp. West. theories 廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.<br /> <br /> 6 Translation Theories<br /> * 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.<br /> *6a Methods Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.<br /> *6b Style 刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.<br /> *6c Translation Studies 许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.<br /> *6d TS 谭载喜. 翻译学[M]. 武汉：湖北教育出版社，2000年.<br /> <br /> 7 Theory and Practise <br /> *7a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.<br /> *7b Theory and Practise Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.<br /> *7c Textbook Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.<br /> *7d Theory and practice Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.<br /> *7e Translation Basics 刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.<br /> <br /> 8<br /> *8a “descriptive” Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia: John BenjaminB Publishing company, 1995.<br /> *8b Culture Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.<br /> *8c Invisibility Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.<br /> *8d Constructivism Research 易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.<br /> <br /> 9 Theories<br /> *9a East-West comparison 刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.<br /> *9b English-Chinese TS 蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.<br /> <br /> =Main class project=<br /> Please help to edit the publication [[History of Translation Studies]].<br /> <br /> =Schedule=<br /> '''All sessions''': 1 9/21 Organizational things, 2 Emergence, 3 History, 4 Development, 5 Early literary examples, 6 early theories, 7 (Western) Theories, 8 Methods, 9 Style, 10 Translation Studies, 11 Theory and Practice, 12 Different Aspects, 13 East West comparison, 14 Strategies, 15 Contemporary Translation Theories, 16 Final Discussion <br /> <br /> ==1st Session==<br /> Introduction to the course. Organizational things. Working with the Wiki.<br /> <br /> === Homework from Session 1 due on Sep 27, 2020 ===<br /> <br /> 1. Every student should translate 1 sentence of a paper on Qing Translation Policies. Here is the [[20200921_trans|homework page]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200921_trans|here]].<br /> <br /> 3. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!<br /> <br /> ===Homework for later===<br /> 4. Write a final exam paper as a chapter of the book &quot;Translation Studies&quot;. It has to be a new topic, not yet used in the book. I will upload the book here later. You can participate in writing this book.<br /> <br /> 5. Get familiar with the pdfs I send you on WeChat group as learning material.<br /> <br /> ==2nd Session: Emergence==<br /> <br /> ===Session 2, Topic 1: 人类起源 The emergence of translation and interpretation===<br /> *Handout for download [[Media:The_emergence_of_translation_and_interpretation.doc|Global Emergence of Interpretation and Translation]] by 彭锐宏<br /> *Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)<br /> <br /> ===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===<br /> *Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> *Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> <br /> ===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===<br /> *Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> *Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> <br /> ===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===<br /> *Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> *Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> <br /> ===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===<br /> 1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].<br /> <br /> ==3rd Session: History==<br /> <br /> ===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===<br /> *Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 2: 中国翻译史代表人物The Representatives in Chinese Translation History===<br /> *Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===<br /> *Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX<br /> *Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting<br /> <br /> ===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===<br /> *Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星<br /> <br /> ==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201005_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].<br /> <br /> ==Session 4: Development==<br /> <br /> ===Session 4, Topic 1: 西方翻译史 Western translation history===<br /> *Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===<br /> *Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===<br /> *Handout for download: [[Media:...docx|History of Western Translation Theory]] by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> * Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]] by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> <br /> ===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===<br /> *Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===<br /> *Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===<br /> *Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===<br /> *Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===<br /> *Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)<br /> <br /> ==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===<br /> <br /> 1. Every student should translate a short passage of a paper on the Chinese essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201012_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].<br /> <br /> 3. Take part in an online survey. The survey is currently prepared by the fellow students.<br /> <br /> ==Session 5: ==<br /> <br /> ===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===<br /> *Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining<br /> *Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei<br /> <br /> ===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===<br /> *Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)<br /> <br /> [[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)<br /> <br /> ===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===<br /> *Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen<br /> *Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi<br /> <br /> Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.<br /> <br /> ===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===<br /> *Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu<br /> <br /> ===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===<br /> *Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)<br /> <br /> ===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===<br /> *Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)<br /> <br /> ==Session 6: Early Theories==<br /> <br /> <br /> <br /> ==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201019_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].<br /> <br /> ===Session 6, Topic 1: 巴斯奈特文化翻译观 The Cultural Translation Theory of Bassnett===<br /> <br /> Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie<br /> <br /> ===Session 6, Topic 2: 中国早期代表性佛经翻译理论 Early Representative Theories of Buddhist Scriptures Translation in China===<br /> <br /> Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式 The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===<br /> <br /> Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing<br /> <br /> Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu<br /> <br /> ===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》 A Linguistic Theory of Translation of J.C.Catford===<br /> <br /> Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===<br /> Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)<br /> <br /> Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 6: 系统翻译理论的早期尝试 Early Attempts at Systematic Translation Theory===<br /> <br /> Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)<br /> <br /> =Session 7: Western theories=<br /> <br /> ===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201026_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].<br /> <br /> ===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===<br /> <br /> Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 2: 多元系统理论 Polysystem Theory===<br /> <br /> Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===<br /> <br /> Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 4： 布拉格学派 Prague School===<br /> <br /> Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 5： 目的论 Skopos Theory===<br /> <br /> Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan<br /> <br /> Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling<br /> <br /> ===Session 7, Topic 6： 语言学派 Linguistic School===<br /> <br /> Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)<br /> <br /> Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)<br /> <br /> =Session 8: Methods=<br /> <br /> ===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201102_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].<br /> <br /> ===Session 8, Topic 1： 正说反译与反说正译 Negation===<br /> Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===<br /> Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===<br /> Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===<br /> Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)<br /> Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 5： 增译与减译 Amplification and Omission===<br /> Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing<br /> <br /> ===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===<br /> Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)<br /> Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)<br /> <br /> =Session 9: Style=<br /> <br /> ===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201116_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].<br /> <br /> ===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===<br /> <br /> Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)<br /> <br /> ===Session 9, Topic2 : 科技翻译 Scientific Style===<br /> <br /> Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===<br /> <br /> Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===<br /> Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 5: 翻译与风格 Translation and Style= ==<br /> Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang<br /> <br /> Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu<br /> <br /> [[Media:Example.ogg]]<br /> <br /> =Session 10: Translation Studies=<br /> <br /> ===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201123_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].<br /> <br /> ===Session 10,Topic 1: 翻译转换 Translation Shifts===<br /> Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===<br /> Classroom presentation for download:[[Media:Decoding and Recoding.pptx]]--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:33, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Decoding and Recoding.docx]]--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 04:32, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 3: 视听翻译 Audiovisual Translation===<br /> Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC) - READ BY NIE XIAOLOU<br /> <br /> Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 4: 对钱钟书“化境说”的理论研究 The Translation Studies of Qian Zhongshu’s Theory of Huajing===<br /> [[Media:Handout-The Translation Studies of Qian Zhongshu’s theory of Huajing.docx]]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:38, 23 November 2020 (UTC)<br /> <br /> [[Media:The Translation Studies of Qian Zhongshu’s theory of Huajing.pptx]]--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 05:40, 23 November 2020 (UTC)<br /> <br /> ===Session 10, Topic 5: 英汉被动语态对比研究及其翻译策略 Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies===<br /> Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.pptx]] --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====<br /> <br /> Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Untranslatability &amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)<br /> <br /> =Session 11: Theory and Practice=<br /> <br /> ===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201130_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201130_trans|here]].<br /> <br /> ===Session 11,Topic 1: 功能对等理论对商标翻译的影响 The Effect of the Equivalence Theory on Trademark Translation===<br /> <br /> Classroom handout for download:[[Media:Handout.The Theory and Practice.docx]]--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:38, 30 November 2020 (UTC)Pengjuan<br /> <br /> Classroom presentation for download:[[Media:The Effect of the Equivalence Theory on Trademark Translation.pptx]]--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 08:08, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===<br /> <br /> Classroom handout for download：[[Media:Handout.The Practice of Foreignization and Domestication.docx]]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 01:21, 30 November 2020 (UTC)Wu Zijia<br /> <br /> Classroom presentation for download:[[Media:Translation practice in domestication and foreignization.pptx]]--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:00, 29 November 2020 (UTC)Lei Kuangxi<br /> <br /> ===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===<br /> <br /> Classroom handout for download：[[Media:Skopos Theory and its Applications.docx]]--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:08, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download：[[Media:Skopos Theory and its Applications.pptx]]--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 05:16, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation=== <br /> <br /> Classroom handout for download:[[Media:The Semantic Translation and Communicative Translation.docx]]--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 16:30, 29 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:The Semantic Translation and Communicative Translation.ppt]]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:56, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 5: 奈达的功能对等理论及其在科技文英译汉中的应用 Nida's Functional Equivalence Theory and its Application in E-C Translation of EST===<br /> <br /> Classroom handout for download：[[Media:Nida’s_Functional_Equivalence_Theory_and_its_Application_in E-C_Translation_of_EST.docx]]--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:03, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory and its Application in E-C Translation of EST.pptx]]--[[User:Zhou Yuanqu|Zhou Yuanqu]]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:25, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 6:女性主义翻译 The Feminist Translation===<br /> <br /> Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)<br /> <br /> Classroom presentation：[[Media:Feminist Translation.pptx]]<br /> <br /> =Session 12: Different Aspects=<br /> <br /> ===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201207_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201207_trans|here]].<br /> <br /> ===Session 12, Topic 1: 政论文翻译 Translation of Political Text===<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.docx]]--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:21, 4 December 2020 (UTC)<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.pptx]] By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 12:30, 4 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 2: 诗歌翻译 Poem Translation===<br /> Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)<br /> <br /> <br /> [[Media:Poem_Translation_handout.docx]] by Zhang Yujie&amp; Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 3: 旅游翻译 Tourism Translation===<br /> Classroom handout for download:[[Media:Tourism Translation.pptx]] by Tan Xinjie &amp; Wei Yafei --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei <br /> <br /> <br /> [[Media:Tourism_Translation_handout.docx]] by Tan Xinjie &amp; Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei<br /> <br /> =Session 13: East West comparison=<br /> <br /> ===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201214_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201214_trans|here]].<br /> <br /> ===Topic 1:严复和泰特勒翻译标准之对比 A Comparison between Yan Fu's and Tytler's Translation Criteria===<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.pptx]]--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:15, 14 December 2020 (UTC)Tang Ming<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.docx]]--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 06:52, 14 December 2020 (UTC)Ou Rong<br /> <br /> ===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.pptx]] by Liu Yi.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:38, 6 December 2020 (UTC)<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.doc]] by Tan Yuanyuan.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 15:47, 6 December 2020 (UTC)<br /> <br /> ===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===<br /> [[Media:Handout-The Influence of Chinese and Western Cultural Differences on Translation.doc]] by Yang Yue--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:10, 10 December 2020 (UTC)<br /> [[Media:The Influence of Chinese and Western Cultural Differences on Translation.pptx]] by Yi Zichu--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 05:01, 10 December 2020 (UTC)<br /> <br /> ===Topic 4:中国佛经翻译与圣经翻译的比较Comparison Between the translation of Buddhist scriptures of China and Bible translation===<br /> [[Media:The Comparison of the Chinese translation of Buddhist Scriptures and Bible translation.pptx]]by Xiao Ting--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:54, 13 December 2020 (UTC)Xiao Ting<br /> <br /> [[Media:The Comparison of the Chinese Translation of Buddhist Scriptures and Bible Translation.docx]]--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:07, 13 December 2020 (UTC)Xu Jia<br /> <br /> ===Topic 5:20世纪中叶以来中西翻译理论对比 Comparison of Chinese and Western translation theories since the mid-term of the 20th century===<br /> <br /> [[Media:Comparison of Chinese and Western translation theories since the mid-term of the 20th century by Mo Ling.pptx]]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:38, 11 December 2020 (UTC)Mo Ling<br /> <br /> [[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]<br /> <br /> ===Topic 6；中西思维方式差异在翻译中的体现——以习语为例 The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example===<br /> <br /> Classroom handout for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.docx]]--[[User:Chen Sha|Chen Sha]] --[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.pptx]] By Chen Jiangning --[[User:Chen Sha|Chen Jiangning]]--[[User:Chen Sha|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> =Session 14: Strategies=<br /> ===Homework from Session 13 (Dec 14, 2020), for Session 14 due on (Dec 21, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201221_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201221_trans|here]].<br /> <br /> ===Topic 1；阿拉伯大征服时代与翻译学 The Era of Arab Conquest and Translatology===<br /> <br /> Classroom handout for download: [[Media:The Era of Arab Conquest and Translatology.docx]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Era of Arab Conquest and Translatology.ppt]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> ===Topic 2；韦努蒂的抵抗式翻译策略 Resistancy Translation Strategy—Lawrence Venuti===<br /> <br /> Classroom handout for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.docx]] Tang Yiran&amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC) <br /> <br /> Classroom presentation for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.ppt]] Tang Yiran&amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC)<br /> <br /> ===Topic 3；英日译本对照--以《雪国》为例The Contrast of Japanese-English Translation--Taking &quot;Snow Country&quot; as an Example===<br /> <br /> Classroom handout for download: [[Media:The Contrast of Differences in Japanese-English Xie Ziyi&amp; Peng Yongliang.docx]] <br /> --[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Contrast of Differences in Japanese-English Xie Ziyi&amp; Peng Yongliang.pptx]] <br /> --[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)<br /> <br /> =Session 15: Contemporary Translation Theories=<br /> <br /> ===Homework from Session 14 (Dec 21, 2020), for Session 15 due on (Dec 28, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201228_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201228_trans|here]].<br /> <br /> <br /> ===Topic 1 Contemporary Translation Theories ===<br /> <br /> Classroom handout for download: [[Media:Contemporary Translation Theories, Sagara Seydou.docx]] <br /> <br /> <br /> Classroom presentation for download: [[Media:Contemporary Translation Theories, Sagara Seydou.pptx]] <br /> --[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:07, 27 December 2020 (UTC)<br /> <br /> =Session 16: Final Discussion=<br /> <br /> ==List of topics for presentations and handouts in class==<br /> 1 Emergence: <br /> 孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源<br /> <br /> 2 History: <br /> 周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史<br /> <br /> 3 Development: <br /> 韩宛真 邓锦霞: 机器翻译的发展; 蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展<br /> <br /> 4 Early Literary Examples: <br /> 许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟<br /> <br /> 5 Early Theories: <br /> 徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试<br /> <br /> 6 (Western) Theories: <br /> 康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派<br /> <br /> 7 Methods: <br /> 甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦<br /> <br /> 8 Style: <br /> 孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳<br /> <br /> 9 Translation Studies: <br /> 罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略<br /> <br /> 10 Theory and Practice: <br /> 彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓 王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅; 阳慧 张佩闻; <br /> <br /> 11 Different Aspects: <br /> 周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; <br /> <br /> 12 East West Comparison: <br /> 唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳：中国佛经翻译和圣经翻译的比较; 莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异在翻译中的体现--以习语为例。<br /> <br /> 13 Strategies: <br /> 吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠<br /> <br /> 14 Contemporary translation Theories: <br /> Sagara Seydo Nguyen, Thuy Hien (Helen)<br /> <br /> ==List of Topics for final exam papers in Translation Studies==<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Ideas<br /> *literal vs. free<br /> *Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization<br /> *unit of translation<br /> *contrastive analysis<br /> *the equivalence problem (functional, dynamic)<br /> *translatability vs untranslatability <br /> *SLT vs TLT relation<br /> *translation types, strategies, styles, methods<br /> *communication factors, translator role in social setting<br /> *cognitive factors<br /> *machine translation<br /> *translation quality assessment<br /> *translation ethics / manipulation etc.<br /> <br /> <br /> Suggested topics for final exam papers (chapters of book on translation studies)<br /> <br /> Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.<br /> <br /> Here is the link to the list: [[Topics in Translation Studies]]<br /> <br /> =Final Exam Papers=<br /> &lt;span style=&quot;color:red&quot;&gt;The deadline has been extended to '''Dec 21, 2020'''. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until Dec 19. The author then finalizes (works in the suggestions) until the final deadline Dec 21!&lt;/span&gt;<br /> ==Structure==<br /> 需要有topic、学生姓名、学号、专业、Abstract、Key words、题目、摘要、关键词、不同的章回（比如1. Introduction、2. Nida’s Theory、3. ……、4.……、5. Conclusion、References)、然后还需要每个阶段以后有来源。一个阶段不要超过100英文词。每个章回会有几个阶段没问题。每个阶段以后需要一个同学的这个阶段的修改。<br /> <br /> ==Tips for writing your final exam paper: How to indicate your references==<br /> *You can use the existing book chapters here as an example.<br /> *Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Do '''not''' write any references like in one of the sample chapters:<br /> <br /> [1] dsalkfkdsa<br /> <br /> [2] adsfadsfag<br /> <br /> But only the following way:<br /> <br /> (Liu Miqing 2010, 17) in the text<br /> <br /> and then<br /> <br /> '''References'''<br /> *Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学.<br /> <br /> Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):<br /> = = Topic = =<br /> &lt; c e n t e r &gt; Student Name, Student no. &lt; / c e n t e r &gt;<br /> = = = Abstract = = =<br /> This chapter is on ....<br /> = = = Key Words = = =<br /> Egg, Hen<br /> = = = 题目 = = =<br /> = = = 摘要 = = =<br /> = = = 关键词 = = =<br /> = = = Introduction = = =<br /> Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.<br /> = = = The Egg = = =<br /> Bla, bla, bla<br /> = = = The Hen = = =<br /> Bla, bla, bla<br /> = = = Conclusion = = =<br /> Bla, bla, bla<br /> = = = References = = =<br /> Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT <br /> <br /> ==Sample papers==<br /> You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with &quot;Sample paper&quot;.<br /> * A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories<br /> * An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications<br /> * Comparative Study on Functional Equivalence Theory and Skopos Theroy<br /> * Comparison of Derrida’s and Benjamin’s Translation View<br /> * Impacts of Western Translation Theories on The Translator’s Guide to Chinglish<br /> * On the Comparison between &quot;Sublimation&quot; an &quot;Functonal Equivalence&quot; Theories<br /> * Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics<br /> * The Translation of Culture-loaded Words in Chinese-English Communication<br /> * Translators' Views on Translation Influence Their Translation Behavior<br /> <br /> ==Websites to write your final exam paper on==<br /> The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).<br /> <br /> ==Here you can write your Final Exam Papers==<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_3 Part 3, students: 蒋凤仪 Jiang Fengyi， 雷旷溪 Lei Kuangxi, 郑华君 Zheng Huajun, 文晓艺 Wen Xiaoyi, 陶冶 Tao Ye, 孔亚楠 Kong Yanan, 陈江宁 Chen Jiangning]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_4 Part 4, students: 杨海容 Yang Hairong，游雨婷 You Yuting，王源 Wang Yuan，徐佳 Xu Jia，凌子瑾 Ling Zijin，石迪文 Shi Diwen，张玲 Zhang Ling，曾心媛 Zeng Xinyuan，姚诚 Yao Cheng，朱旭 Zhu Xu，许鹏飞 Xu Pengfei，赵晓燕 Zhao Xiaoyan，张琪 Zhang Qi，周园曲 Zhou Yuanqu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_5 Part 5, students: 李玉 Li Yu，林敏 Lin Min，文偲荇 Wen Sixing， 周诗卿 Zhou Shiqing，朱素瑶 Zhu Suyao，胡百辉 Hu Baihui，马智星 Ma Zhixing, 胡瑾 Hu Jin，张毓婕 Zhang Yujie，顾东方 Gu Dongfang，高明珠 Gao Mingzhu，张虎 Zhang Hu，李璐伊 Li Luyi，袁诗琦 Yuan Shiqi，王美玲 Wang Meiling，康浩宇 Kang Haoyu，王轩 Wang Xuan，陈永相 Chen Yongxiang，莫玲 Mo Ling，袁天翼 Yuan Tianyi]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_6 Part 6, students:汤蓓 Tang Bei欧蓉 Ou Rong，谭星越 Tan Xingyue，周罗平 Zhou Luoping，龚钰冕 Gong Yumian，邹鑫雨 Zou Xinyu， 陈惠 Chen Hui，罗雨晴 Luo Yuqing，谭鑫洁 Tan Xinjie]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_7 Part 7, students:曾雁湖 Zeng Yanhu，邓锦霞 Deng Jinxia，姜好 Jiang Hao，管钦清 Guan Qinqing，唐铭 Tang Ming，娄灿灿 Lou Cancan，丁代凤 Ding Daifeng，苏琳 Su Lin，徐佳 Xu Jia， 刘艺 Liu Yi，李凌月 Li Lingyue，马娟 Ma Juan，吴琪 Wu Qi，姚佳 Yao Jia，李海泉 Li Haiquan，吴琼 Wu Qiong，杨子泠 Yang Ziling，林敏 Lin Min，彭锐宏 Peng Ruihong ，汤伊然 Tang Yiran，阳慧 Yang Hui，刘智伟 Liu Zhiwei]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_8 Part 8, students: 王煜 Wang Yu，方洁玲 Fang Jieling，许静 Xu Jing，周书尧 Zhou Shuyao，彭永亮 Peng Yongliang，宋建茹 Song Jianru，韦洪朗 Wei Honglang，魏亚菲 Wei Yafei，张雪仪 Zhang Xueyi，甘奉玉 Gan Fengyu，赵茜 Zhao Xi，吴恺 Wu Kai，周艺文 Zhou Yiwen，张维虹 Zhang Weihong，司妤 Si Yu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_9 Part 9, students: 易欢 Yi Huan，曾良 Zeng Liang，义子楚 Yi Zichu，欧阳玲 Ouyang Ling，石海瑶 Shi Haiyao，胡慧芳 Hu Huifang，吴一露 Wu Yilu，纪甜甜 Ji Tiantian, 桂一枝 Gui Yizhi，刘欧 Liu Ou，祝美梅 Zhu Meimei，谭媛媛 Tan Yuanyuan，张银柳 Zhang Yinliu，李泳珊 Li Yongshan，聂晓楼 Nie Xiaolou]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_10 Part 10, students:陈静静 Chen Jingjing， Thuy Hien Nguyen Thuy Hien，肖茜 Xiao Xi，余妮 Yu Ni，韩宛真 Han Wanzhen，陈佳欣 Chen Jiaxin，成于思 Cheng Yusi，方洁玲 Fang Jieling，张慧 Zhang Hui，吴子佳 Wu Zijia，孔祥慧 Kong Xianghui，许晶 Xu Jing，周玉娟 Zhou Yujuan，曹润鑫 Cao Runxin，肖伊宁 Xiao Yining, Sagara Seydou，欧阳静兰 Ouyang Jinglan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_11 Part 11, students:李丽琴 Li Liqin, 张瑜 Zhang Yu, 刘怡瑜 Liu Yiyu, 李梦 Li Meng, 林鑫 Lin Xin, 罗维嘉 Luo Weijia, 漆凯 Qi Kai, 郭露 Guo Lu，张宇星 Zhang Yuxing, 陈涵 Chen Han, 李丽丽 Li Lili, 刘柳 Liu Liu, 陈莎 Chen Sha, 徐梦蝶 Xu Mengdie,彭丹 Peng Dan， 谢子熠 Xie Ziyi，莫南 Mo Nan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_12 Part 12, students: 全美欣 Quan Meixin，何长琦 He Changqi，刘博 Liu Bo，刘金惺琦 liu Jinxingqi，谌孙福 Chen Sunfu，曾芳缘 Zeng Fangyuan，肖婷 Xiao Ting，常慧月 Chang Huiyue，彭娟 Peng Juan，彭小玲 Peng Xiaoling，杨悦 Yang Yue，肖双玲 Xiao Shuangling，彭育志 Peng Yuzhi，孟莹 Meng Ying]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_13 Part 13, students: 杨晨婷 Yang Chenting, 康灵凤 Kang Lingfeng，杨逸 Yang Yi, 马淑雅 Ma Shuya, 雷方圆 Lei Fangyuan, 张佩闻 Zhang Peiwen]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_14 Part 14, students:周思庆 Zhou Siqing，蒋淇玮 Jiang Qiwei，瞿淼 Qu Miao，韩海洋 Han Haiyang，刘金惺琦 liu jinxingqi，解帆 Xie Fan，刘洋诺 Liu Yangnuo，袁雨晨 Yuan Yuchen，邬香 Wu Xiang]<br /> <br /> =Benefits=<br /> This course is registered as a &quot;EU Expert&quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=118249 2020-12-21T11:47:44Z

<p>Sagara Seydou 3: /* Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies= */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 英语口译==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important culture, it has both tangible cultural resources and intangible ones. Red culture in China refers to the advanced culture with Chinese characteristics created by the Communism Party of China and Chinese people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has a brilliant history and splendid civilization in ancient times. However, after the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism to China. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historical mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is tightly related to material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their courage, and summon their spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of the Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of the socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising,communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nanchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI 英语笔译==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:46, 20 December 2020 (UTC)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> <br /> 1. Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi - Tibet tea horse road (wade ancient road) began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other.During the Ming and Qing dynasties, the government controlled tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. (Kang Yuming, Li Jinfeng2020,281) <br /> <br /> 3. The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.<br /> 4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers. (Kang Yuming, Li Jinfeng2020,282)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:06, 20 December 2020 (UTC)<br /> <br /> ===Historical Values===<br /> 1. The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. (Ji Jing2016,354)<br /> <br /> 3. Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.<br /> <br /> 4. The Path of National Spirituality<br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit. (Ji Jing2016,355)<br /> <br /> 5. The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.<br /> <br /> 6. The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.<br /> <br /> 7. The road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:10, 20 December 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:11, 20 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> <br /> Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].<br /> ''北京规划建设'' BeiJing Planning Review (04)131-140.<br /> <br /> Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技''Rural Economy and Science (11)281-283.<br /> <br /> Li Gang, Li Wei李刚,李薇. (2011). 论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History]. ''西北大学学报''Journal of Northwestern University (04):113-117.<br /> <br /> Ji Ji纪静. (2016). 茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ]. ''福建茶叶'' Tea In Fujian (07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:20, 21 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪 学号202070080639 MTI 英语口译==<br /> <br /> ===Four satirical novels in ancient China===<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin)<br /> <br /> ====Introduction====<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(wenku)<br /> <br /> ==== Nie Hai Hua====<br /> <br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> <br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> <br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.(wenku)<br /> <br /> ==== the Travels of an Old Man====<br /> <br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.(wenku)<br /> <br /> ==== The Records of Officialdom Exposure====<br /> <br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> <br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together, involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> <br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.(wenku)<br /> <br /> ==== 20 years witness strange present situation====<br /> <br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> <br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> <br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.(wenku)<br /> <br /> ==== Conclution====<br /> <br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> <br /> *[1]https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin<br /> *[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012<br /> *[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012<br /> *[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012<br /> *[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012<br /> *[6]四大谴责小说政治批判手法研究[J].李辉东,2017<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Play - Li Lili 李丽丽 No.202070080594 MTI 英语笔译 ==<br /> <br /> ====The Origin of Shadow Play====<br /> <br /> <br /> Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he was glued to it. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13) <br /> <br /> There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were a variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play was recorded in Song Dynasty. Its rise and development were closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)<br /> <br /> ====Introduction====<br /> <br /> In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)<br /> <br /> Typically, a shadow puppet has three rods and some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)<br /> <br /> So how to make a puppet? First, draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; fourth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)<br /> <br /> [[File:shadow play-3.jpg|100px|thumb|left|shadow play of puppet]]<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people have short beard, but the elderly men have long beard. (Wang Yexia 2012,10-11)<br /> <br /> The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. The red is a symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）<br /> <br /> After the end of the &quot;Cultural Revolution&quot;, shadow puppet art rapidly revived, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> <br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.（Zhu Hengfu 2020,36）<br /> <br /> ===References===<br /> *Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House] <br /> *Wei Liqun 魏力群.(2018). 《小书大传承-皮影》[&quot;Small Book, Big Heritage - Shadow Play&quot;] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]<br /> *Zhu Hengfu 朱恒夫.(2020). 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]<br /> <br /> ===Words and Expressions===<br /> *shadow puppet皮影戏 <br /> *paper cutting 剪纸<br /> *ventriloquism 口技<br /> *manipulating rod 操纵杆<br /> *five facial features 五官<br /> *sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> *Cultural Revolution 文化大革命<br /> *intangible cultural heritage 非物质文化遗产<br /> <br /> ===Questions===<br /> *1. When is the earliest shadow puppet’s record? <br /> *2. What art of forms do shadow play use?<br /> *3. What does a red head stand for in a play?<br /> *4. When is shadow play put in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.<br /> <br /> ===Answers===<br /> *1. Song dynasty.<br /> *2. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> *3. The red is a symbol of a heroic and upstanding character.<br /> *4. On November 27, 2011.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:32, 20 December 2020 (UTC)<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI 英语笔译==<br /> <br /> ===Introduction ===<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) <br /> <br /> After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> === Analysis of Confucian Culture ===<br /> <br /> ==== Intelligence Development ====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) <br /> <br /> For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.<br /> <br /> ====Spiritual Guidance ====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> ====Order Construction ====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)<br /> <br /> In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)<br /> <br /> Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ===The Contemporary Value of Confucian Culture ===<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> ====Ideological and Political Education ====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ==== Modern Economic Construction====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) <br /> <br /> Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) <br /> <br /> Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.&quot; It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)<br /> <br /> The concept not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)<br /> <br /> ==== Legal Construction ====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) <br /> <br /> Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)<br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) <br /> <br /> In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) <br /> <br /> In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)<br /> <br /> ===The Confucius Institute ===<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)<br /> <br /> At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) <br /> <br /> Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ===Terms and Expressions ===<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ===Questions ===<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> *Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly (03) 60-62.<br /> <br /> *Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College (02) 65-70.<br /> <br /> *Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position (10) 55-56. <br /> <br /> *Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University (05) 31-33.<br /> <br /> *Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World (10) 67-68. <br /> <br /> *Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (02) 77-83. <br /> <br /> *Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University (05) 28-33. <br /> <br /> *Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (06) 39-43. <br /> <br /> *Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:04, 20 December 2020 (UTC)<br /> <br /> ==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)<br /> <br /> Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947) <br /> <br /> In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati.(Qian Zhongshu 1947)<br /> <br /> Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.quotation is missing--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947). <br /> <br /> Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. <br /> <br /> To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020) <br /> <br /> Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].<br /> <br /> Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].<br /> <br /> --[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> == ''' Crosstalk''' Liu Ou 刘欧， 202070080597，MTI==<br /> 大标题+小标题+名字拼音+汉字+学号+专业--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> &lt;center&gt;刘欧 Liu Ou &lt;/center&gt;<br /> <br /> ===The Development of Crosstalk===<br /> <br /> Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)<br /> <br /> Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)夹注应在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) <br /> <br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)<br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people 这句话语法错误--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) . The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata 这句话关联词不完整， spread主谓注意一致，注意逗号的使用以及夹注在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:01)<br /> <br /> ===Four Basic Skills in Crosstalk===<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194)作者？--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation 不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). By learning all kinds of sounds to gain the ability to imitate不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:11)<br /> <br /> ===Characteristics of Crosstalk===<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)参考格式(Liu Miqing 2010, 17) --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties 没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> <br /> “Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)<br /> <br /> Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)<br /> <br /> ===Famous Artists of CrossTalk===<br /> <br /> In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )<br /> <br /> ===Terms and Expressions===<br /> <br /> speaking, imitating, teasing and singing 说学逗唱<br /> <br /> Taiping lyrics 太平歌词<br /> <br /> Baofu 包袱<br /> <br /> Drama Talks 《戏剧杂谈》<br /> <br /> Drunkenness 《醉酒》<br /> <br /> Selling Tickets 《卖挂票》<br /> <br /> ===Questions===<br /> <br /> 1.When did crosstalk form its format?<br /> <br /> 2.What is Taiping lyrics?<br /> <br /> 3.Who was regarded as the “ancestor”of crosstalk art ?<br /> <br /> 4.What are the four basic skills of crosstalk?<br /> <br /> ===Answers===<br /> <br /> 1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.<br /> <br /> 2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.<br /> <br /> 3.Zhu Shaowen.<br /> <br /> 4.They are speaking, imitating, teasing and singing.<br /> <br /> ===References===<br /> <br /> 1.Hou Baolin,Xue Baokun,侯宝林,薛宝坤.(1982)，《相声溯源》，People's Education Press<br /> <br /> 2.https://cul.sohu.com/20090619/n264630449.shtml<br /> <br /> 3.https://baike.so.com/doc/1925383-2037001.html<br /> <br /> 4.https://baijiahao.baidu.com/s?id=1590742532351773378<br /> <br /> 注意参考文献格式：<br /> Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO - Liu Yi 刘艺 202070080640 MTI===<br /> <br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)<br /> <br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position. Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> <br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)<br /> <br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 07:36, 21 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==<br /> <br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> <br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. <br /> <br /> At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. <br /> <br /> Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. <br /> <br /> He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. <br /> <br /> Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. <br /> <br /> Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.<br /> <br /> His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.<br /> <br /> 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”<br /> <br /> History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. <br /> <br /> It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> <br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> <br /> 英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)<br /> <br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> 参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 MTI 英语笔译==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> [[File:Iconic Building of Mogao Grottoes.jpg|150px|thumb|left|Iconic Building of Mogao Grottoes]] <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170) <br /> <br /> Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)<br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178) <br /> [[File:Taoist Wang Yuanlu.jpg|100px|thumb|right|Taoist Wang Yuanlu]]<br /> By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) <br /> <br /> During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ===Art===<br /> [[File:A Chaitya with a Central Pillar.jpg|150px|thumb|right|A Chaitya with a Central Pillar]]<br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ===[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|150px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]===<br /> [[File:Cave 251 in Northern Wei.jpg|150px|thumb|right|Cave 251 in Northern Wei]]<br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) <br /> <br /> The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)<br /> [[File:Cave 68 in Tang Dynasty.jpg|150px|thumb|right|Cave 68 in Tang Dynasty]]<br /> In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) <br /> <br /> In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)<br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)<br /> <br /> The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:44, 21 December 2020 (UTC)<br /> <br /> ===[[File:Cave 3 in Yuan Dynasty.jpg|100px|thumb|left|Cave 3 in Yuan Dynasty]]===<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong ofTang Dynasty 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.<br /> <br /> MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> Duan Wenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-Level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==<br /> <br /> ===Four State-Level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today. <br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.(Xu Ling,2019)<br /> <br /> ====Simuwu Ding====<br /> <br /> [[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]] <br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).<br /> <br /> Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015). <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (1700 BC-256 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015). <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> [[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]] <br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020). <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016). <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> [[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]] <br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> [[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]] <br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu &amp; Zhao Jing, 2019).<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu &amp; Zhao Jing, 2019). <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).<br /> <br /> ===Terms and Expressions===<br /> <br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> Anna 安娜.(2015).中国人的鼎文化[The Ding Culture of the Chinese]. 科学大观园(15),72-73.<br /> <br /> Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟[The Chime Bells of Marquis Yi ]. 中华文化论坛(11),2.<br /> <br /> Li Xiaohu &amp; Zhao Jing 李小虎 &amp; 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读[The Artistic Effect of the Bronze Galloping Horse]. 艺术教育(09),170-171.<br /> <br /> Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣[On the Jade Suit with Gold Thread in Han Tombs in Mancheng] .文物鉴定与鉴赏 (03):38-39.<br /> <br /> Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[Modern Chinese Dictionary (the 7th edition)]. 北京:商务印书馆.<br /> <br /> Wang Jing 王静.(2008).汉代玉衣研究[A Study of Jade Clothes in Han Dynasty].(硕士学位论文,河北师范大学).<br /> <br /> Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi ].文史知识 (11):1-2.<br /> <br /> Xu Ling 徐玲.(2019).博物馆与近现代中国文物保护[Museums and the Protection of Cultural Relics in Modern China]. 中国博物馆(01),57-61. <br /> <br /> Zhou Yi 周仪.(2016).“八音合鸣 乐舞齐容”——大型乐舞作品《编钟乐舞》述评[The Comment on Bianzhong Yuewu]. 戏剧之家(19),66-67+79.<br /> <br /> == Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 MTI英语笔译 ==<br /> <br /> ====I.Introduction==== <br /> <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> <br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> <br /> ====[[File:A Panorama view of the Forbidden City.jpg|300px|thumb|left|A Panorama view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> <br /> The common English name &quot;Forbidden City&quot; is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. (Li Xieping1997, (04)29-31)<br /> <br /> “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. (Li Xieping1997, (04)29-31)<br /> <br /> Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)<br /> <br /> In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) <br /> <br /> In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. (Yu Zhuoyun1984,30)<br /> <br /> In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin &amp; Qu Wanlin 2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> <br /> Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)<br /> <br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes<br /> Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(Xie Li 2005,(03)100-102)<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22)<br /> <br /> The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. (Website:The Collection of the Palace Museum )<br /> <br /> Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 09:48, 21 December 2020 (UTC)<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602 MTI 英语笔译==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.(Zhou Dandi,Yue Shufa 2012,12) <br /> <br /> ====Six Procedures====<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.(Gao Xiaoqian 2017,235)<br /> <br /> Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts.(Gao Xiaoqian 2017,235) <br /> <br /> Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment.(Gao Xiaoqian 2017,235) <br /> <br /> Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage.(Gao Xiaoqian 2017,235) <br /> <br /> What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes.(Gao Xiaoqian 2017,235) <br /> <br /> Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family.(Gao Xiaoqian 2017,235) <br /> <br /> Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ====Customs====<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017,235)<br /> <br /> After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017,235)<br /> <br /> The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ====Development====<br /> <br /> As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi,Yue Shufa 2012,15)<br /> <br /> Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics.(Zhou Dandi,Yue Shufa 2012,15)--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:54, 20 December 2020 (UTC)Mo Ling<br /> <br /> ====References====<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage Customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the Evolution of Chinese Marriage Customs Since Modern Times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ====Terms and Expressions====<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ====Questions====<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ====Answers====<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603 MTI英语笔译==<br /> &lt;center&gt; Ouyang Ling 欧阳玲 &lt;/center&gt;<br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac has been engraved in every Chinese people. <br /> <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented without sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most time-honored one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). <br /> <br /> Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). <br /> <br /> There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some researches on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign can not only reveal one’s age, but also represent his or her personality, career prospects and way of life according to Chinese superstition(The Editorial Board, 2010: 40). <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodiac sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creature, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804)<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight against each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). <br /> <br /> And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac(The Editorial Board, 2010: 34-35).<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme has developed a profound connotation and implications through generations. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> --[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:13, 20 December 2020 (UTC)<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641 英语口译==<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the &quot;Going up to the mountain of swords and going down to the sea of ​​fire&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies. <br /> <br /> Introduction<br /> <br /> Chinese Clothing has a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages.(Mei Hua-2010-page-1)<br /> <br /> 1-Chinese traditional clothing<br /> <br /> Traditional clothing can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> 1:1.Traditional Han Chinese Clothing (Han Fu)<br /> <br /> It refers to the attire worn by the Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> 1:2.Chinese Suit(Tang Zhuang)<br /> <br /> It is a combination of the Manchu male jacket of the Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> 1:3.Cheongsam(Qi Pao)<br /> <br /> Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> 1:4.Chinese Tunic Suit(Zhongshan Zhuang)<br /> <br /> Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> 2.Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> 2:1.The Aesthetic Performance of Design<br /> <br /> Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that&quot;the upper part should be short, the below part should be long&quot;; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the &quot;long upper part,short below part&quot;ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)<br /> <br /> 2:2.The Aesthetic Performance of colors<br /> <br /> Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusk, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color.(Jiangsu, 2016,page-6)<br /> <br /> In Chinese traditional clothing colors red has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)<br /> In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi<br /> <br /> ==Conclusion==<br /> Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.<br /> <br /> <br /> 2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> Culture=Topic Chinese Traditional Dance=Pingki Tanchangya, Student No:201921080004<br /> ,Major: Comparative Literature and cross culture studies.<br /> <br /> 1. Introduction<br /> <br /> There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. &quot; Lianxiang &quot; is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)<br /> <br /> <br /> 2. Characteristics of the Dance<br /> <br /> Characteristics of the movements <br /> <br /> There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)<br /> <br /> 3. The Dragon Dance<br /> <br /> The Dragon dance is a form of traditional dance and performance in Chinese culture. Like the lion dance it is most often seen in festive celebrations. Many Chinese people often use the term &quot;Descendants of the Dragon&quot; as a sign of ethnic identity, as part of a trend started in the 1970s. Chinese people who taught them agriculture, law and medicine, the foundations of civilization.<br /> Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom. The appearance of a dragon is both frightening and bold.The Dragon Dance originated during the Han Dynasty and was started by the Chinese who had shown great belief and respect towards the dragon. It is believed to have begun as part of the farming and harvest culture, also with origins as a method of healing and preventing sickness. It was also a popular event during the Song Dynasty and become a folk activity and like the lion dance, was most often seen in festive celebrations.<br /> As the dragon gives people a feeling of great respect, it is often called the Sacred Dragon. The emperors of ancient China considered themselves as the dragon. The Dragon is also the emblem of Imperial Authority. It symbolizes supernatural power, goodness, fertility, vigilance and dignity.<br /> <br /> 4. The lion Dance<br /> <br /> The lion dance is a traditional Chinese dance performed on big occasions, such as the Spring Festival (Chinese New Year) for good luck, as it is believed that the lion is an auspicious animal.<br /> In Chinese culture, the lion symbolizes power, wisdom, and superiority. People perform lion dances at Chinese festivals or big occasions to bring good fortune and chase away evil spirits.The lion dance is one of the most important traditions during Chinese New Year. It is performed to bring prosperity and good luck for the upcoming year. The lion dance is also a way to create a festive atmosphere and bring happiness. Performed in a lion costume, accompanied by the music of beating drums, clashing cymbals, and resounding gongs, lion dances imitate a lion's various movements or demonstrate martial arts, depending on the style. Though lion dances all use similar costumes, during its long development, the lion dance has divided into two styles: southern and northern.<br /> <br /> 4.1 The Southern Lion Dance<br /> <br /> The southern lion dance originated in Guangdong, and it is the style popular in Hong Kong, Macau, and the hometowns of overseas Chinese. The southern lion dance is a performance based on the study of a lion's behavior, with an emphasis on actions like scratching and shaking of the body. Performances are vivid and entertaining, even comical. There are also skillful performances, such as playing with a ball, which includes swallowing it.<br /> <br /> 4.2 The Northern Lion Dance<br /> <br /> The northern lion dance has close relations to kungfu Chinese martial arts. A young lion is performed by a single person and an adult lion is performed by a duo. Costumes are more robust, and less decorative, to allow for more movement. In the adult lion dance, the performer in front holding the lion's head is often lifted by the other to make the lion stand up. Northern lion dances are more gymnastic, involving rolling, wrestling, leaping, jumping, climbing, or kowtowing. The best places to see northern Chinese lion dances are China's martial arts theaters, like the Red Theater in Beijing, or even at the Shaolin Temple.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 14:19, 20 December 2020 (UTC)<br /> <br />  5. Conclusion<br /> <br /> &quot;Lianxiang” is a remark traditional dance that popularized in lots of regions and nations. It’s a folk dance that combines entertainment and body-building. Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom.The lion dance is an excellent example of Chinese folk culture, which has spread across the world with Chinese immigration. Overseas Chinese in Europe, America, etc. have established many lion dance clubs, performing on Chinese festivals or big occasions, particularly Chinese New Year.<br /> <br /> <br /> ===Terms and Expressions===<br /> 1.Han Dynasty 汉朝。<br /> <br /> 2.Traditional dance history 传统舞蹈史。<br /> <br /> 3.The lion Dance 舞狮。<br /> <br /> 4.The Dragon Dance 龙舞。<br /> <br /> 5.Lianxing 联兴。<br /> <br /> 6.Chinese Dance 中国舞。<br /> <br /> 7.Festivals 节庆。<br /> <br /> <br /> <br /> 6. Questions:<br /> <br /> 1. What is lianxing?<br /> 2. What is the Dragon Dance? Have you seen it before? And Where?<br /> 3. The dragon Dance originated from where?<br /> 4. what Lion Dances Symbolized?<br /> 5. How many Chinese Traditional Dance names you know?<br /> <br /> Answers:<br /> <br /> 1.&quot;Lianxiang&quot; is generally a traditional dance that is quite popular in lots of regions.<br /> 2. The Dragon dance is a form of traditional dance and performance in Chinese culture. Yes, I have seen it before in China.<br /> 3. The Dragon Dance originated from the Han Dynasty. It was started by the Chinese people those had shown great belief and respect towards the dragon.<br /> 4 The lion dance performed at Chinese festivals and<br />  “Lion” symbolizes power, wisdom, and superiority.<br /> 5.<br /> 1.The folk dance.<br /> 2 The Duhuang Dance.<br /> 3.The Lion Dance.<br /> 4.The Dragon Dance.<br /> <br /> Reference: <br /> <br /> https://en.wikipedia.org/wiki/History_of_Chinese_dance.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-JFYS201701031.htm.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-TIRE200403012.htm.<br /> <br /> https://www.atlantis-press.com/proceedings/etmhs-16/25849367.<br /> <br /> Origin of lianxiang.http://www.google.cn.<br /> <br /> Classification of Lian Xiang. http://www.google.cn.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 15:27, 20 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604 ==<br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604 英语笔译 ==--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.（后面好像缺了文献的引用，参考文献中的没有在正文体现）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12) <br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting it. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please?<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. (这句话的因果关系不知道是什么，改错了就删掉我的就好）The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage. where is source coming?<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council included &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared it as the world intangible cultural heritage.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)(sorry,又忘记复制粘贴，直接改动了）<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. <br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels is basically specific. <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> <br /> [[File:zun.left.jpg|300px|thumb|left]]<br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty and Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than it in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking games is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康<br /> <br /> 2.Chinese Dionysus 中国酒神<br /> <br /> 3.husked sorghum rice 秫米饭<br /> <br /> 4.Baishui 白水县（陕西渭南市辖县）<br /> <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县）<br /> <br /> 6.fermented wine 发酵酒<br /> <br /> 7.Distilled liquor 蒸馏酒<br /> <br /> 8.Yellow rice wine 黄酒<br /> <br /> 9.Shaoxing Wine 绍兴酒 <br /> <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> <br /> 11.Mellow Wine 醇香酒 <br /> <br /> 12.Dongwu Rice Wine 东吴老酒<br /> <br /> 13.Liquor and Spirits 白酒 <br /> <br /> 14.Kweichow Moutai 贵州茅台<br /> <br /> 15.sauce-flavor type 酱香型 <br /> <br /> 16.light flavor type 清香型 <br /> <br /> 17.strong flavor type 浓香型 <br /> <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> <br /> 19.the Peiligang culture period裴李岗文化时期 <br /> <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> <br /> 21.Zun 樽 <br /> <br /> 22.injection vessel and bowl 注子和注碗<br /> <br /> 23.drinking order 行酒令<br /> <br /> 23.drinking games 行酒令--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====Questions==== （问题好像还要再加一两个 忘记标准了）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> 2.What is the most prominent characteristic of Shaoxing Wine?--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> == China Railway High-Speed ​​(CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> Introduction <br /> <br /> High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot;[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]<br /> <br /> Definition and terminology <br /> <br /> High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高 铁; Gāotiě; &quot;High-speed rail&quot;) are commonly used trains E In class D trains (动 车; Dòngchē; &quot;Electrical multiple unit&quot;) are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Influence on airlines<br /> <br /> The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a<br /> Technologies <br /> Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐 号; Traditional Chinese: 和 諧 號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]<br /> <br /> 4 + 4 HSR network <br /> <br /> The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]<br /> <br /> Advantages <br /> <br /> HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Wenzhou accident <br /> <br /> On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]<br /> <br /> Terms and expressions<br /> <br /> 高 铁 - High-speed rail<br /> 动 车 - Electrical multiple unit<br /> 和 諧 號 – Harmony<br /> 復興號 - Rejuvenation<br /> <br /> Questions <br /> <br /> 1. What does the World Bank research say?<br /> 2. What forced China's domestic airlines to cut airfares and cancel regional flights?<br /> 3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?<br /> 4. What caused the accident?<br /> 5. What are the benefits of HSR?<br /> <br /> Answers<br /> <br /> 1. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot; <br /> 2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.<br /> 3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. <br /> 4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.<br /> 5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.<br /> <br /> References <br /> <br /> http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf<br /> https://ru.qaz.wiki/wiki/China_Railway_High-speed<br /> https://en.m.wikipedia.org/wiki/Wayback_Machine <br /> http://www.railjournal.com/A/xfeature2.html<br /> https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects and there are great differences between the dialects because of the speech impediment. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, called Putonghua and also known as Mandarin in Western countries. Government also has implemented a strategy to promote Putonghua and to facilitate it learning with Pinyin . Cheng Aimin (2019,124)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusion.== <br /> Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> <br /> Lingo: 林戈<br /> <br /> Lingo: 行话，语言<br /> <br /> Putonghua: 普通话<br /> <br /> Await student:等待学生<br /> <br /> Pinyin: 等待学生<br /> <br /> Pinyin: 拼音<br /> <br /> Lofty: 崇高<br /> <br /> Vernacular: 白话<br /> <br /> Swine: 猪<br /> <br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=118239 2020-12-21T11:44:38Z

<p>Sagara Seydou 3: /* Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies= */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 英语口译==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important culture, it has both tangible cultural resources and intangible ones. Red culture in China refers to the advanced culture with Chinese characteristics created by the Communism Party of China and Chinese people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has a brilliant history and splendid civilization in ancient times. However, after the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism to China. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historical mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is tightly related to material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their courage, and summon their spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of the Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of the socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising,communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nanchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI 英语笔译==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:46, 20 December 2020 (UTC)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> <br /> 1. Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi - Tibet tea horse road (wade ancient road) began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other.During the Ming and Qing dynasties, the government controlled tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. (Kang Yuming, Li Jinfeng2020,281) <br /> <br /> 3. The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.<br /> 4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers. (Kang Yuming, Li Jinfeng2020,282)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:06, 20 December 2020 (UTC)<br /> <br /> ===Historical Values===<br /> 1. The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. (Ji Jing2016,354)<br /> <br /> 3. Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.<br /> <br /> 4. The Path of National Spirituality<br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit. (Ji Jing2016,355)<br /> <br /> 5. The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.<br /> <br /> 6. The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.<br /> <br /> 7. The road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:10, 20 December 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:11, 20 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> <br /> Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].<br /> ''北京规划建设'' BeiJing Planning Review (04)131-140.<br /> <br /> Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技''Rural Economy and Science (11)281-283.<br /> <br /> Li Gang, Li Wei李刚,李薇. (2011). 论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History]. ''西北大学学报''Journal of Northwestern University (04):113-117.<br /> <br /> Ji Ji纪静. (2016). 茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ]. ''福建茶叶'' Tea In Fujian (07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:20, 21 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪 学号202070080639 MTI 英语口译==<br /> <br /> ===Four satirical novels in ancient China===<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin)<br /> <br /> ====Introduction====<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(wenku)<br /> <br /> ==== Nie Hai Hua====<br /> <br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> <br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> <br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.(wenku)<br /> <br /> ==== the Travels of an Old Man====<br /> <br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.(wenku)<br /> <br /> ==== The Records of Officialdom Exposure====<br /> <br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> <br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together, involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> <br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.(wenku)<br /> <br /> ==== 20 years witness strange present situation====<br /> <br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> <br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> <br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.(wenku)<br /> <br /> ==== Conclution====<br /> <br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> <br /> *[1]https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin<br /> *[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012<br /> *[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012<br /> *[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012<br /> *[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012<br /> *[6]四大谴责小说政治批判手法研究[J].李辉东,2017<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Play - Li Lili 李丽丽 No.202070080594 MTI 英语笔译 ==<br /> <br /> ====The Origin of Shadow Play====<br /> <br /> <br /> Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he was glued to it. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13) <br /> <br /> There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were a variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play was recorded in Song Dynasty. Its rise and development were closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)<br /> <br /> ====Introduction====<br /> <br /> In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)<br /> <br /> Typically, a shadow puppet has three rods and some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)<br /> <br /> So how to make a puppet? First, draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; fourth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)<br /> <br /> [[File:shadow play.jpg|100px|thumb|left|puppet]]<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people have short beard, but the elderly men have long beard. (Wang Yexia 2012,10-11)<br /> <br /> The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. The red is a symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）<br /> <br /> After the end of the &quot;Cultural Revolution&quot;, shadow puppet art rapidly revived, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> <br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.（Zhu Hengfu 2020,36）<br /> <br /> ===References===<br /> *Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House] <br /> *Wei Liqun 魏力群.(2018). 《小书大传承-皮影》[&quot;Small Book, Big Heritage - Shadow Play&quot;] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]<br /> *Zhu Hengfu 朱恒夫.(2020). 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]<br /> <br /> ===Words and Expressions===<br /> *shadow puppet皮影戏 <br /> *paper cutting 剪纸<br /> *ventriloquism 口技<br /> *manipulating rod 操纵杆<br /> *five facial features 五官<br /> *sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> *Cultural Revolution 文化大革命<br /> *intangible cultural heritage 非物质文化遗产<br /> <br /> ===Questions===<br /> *1. When is the earliest shadow puppet’s record? <br /> *2. What art of forms do shadow play use?<br /> *3. What does a red head stand for in a play?<br /> *4. When is shadow play put in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.<br /> <br /> ===Answers===<br /> *1. Song dynasty.<br /> *2. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> *3. The red is a symbol of a heroic and upstanding character.<br /> *4. On November 27, 2011.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:32, 20 December 2020 (UTC)<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI 英语笔译==<br /> <br /> ===Introduction ===<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) <br /> <br /> After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> === Analysis of Confucian Culture ===<br /> <br /> ==== Intelligence Development ====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) <br /> <br /> For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.<br /> <br /> ====Spiritual Guidance ====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> ====Order Construction ====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)<br /> <br /> In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)<br /> <br /> Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ===The Contemporary Value of Confucian Culture ===<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> ====Ideological and Political Education ====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ==== Modern Economic Construction====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) <br /> <br /> Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) <br /> <br /> Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.&quot; It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)<br /> <br /> The concept not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)<br /> <br /> ==== Legal Construction ====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) <br /> <br /> Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)<br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) <br /> <br /> In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) <br /> <br /> In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)<br /> <br /> ===The Confucius Institute ===<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)<br /> <br /> At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) <br /> <br /> Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ===Terms and Expressions ===<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ===Questions ===<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> *Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly (03) 60-62.<br /> <br /> *Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College (02) 65-70.<br /> <br /> *Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position (10) 55-56. <br /> <br /> *Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University (05) 31-33.<br /> <br /> *Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World (10) 67-68. <br /> <br /> *Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (02) 77-83. <br /> <br /> *Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University (05) 28-33. <br /> <br /> *Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (06) 39-43. <br /> <br /> *Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:04, 20 December 2020 (UTC)<br /> <br /> ==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)<br /> <br /> Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947) <br /> <br /> In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati.(Qian Zhongshu 1947)<br /> <br /> Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.quotation is missing--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947). <br /> <br /> Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. <br /> <br /> To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020) <br /> <br /> Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].<br /> <br /> Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].<br /> <br /> --[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> == ''' Crosstalk''' Liu Ou 刘欧， 202070080597，MTI==<br /> 大标题+小标题+名字拼音+汉字+学号+专业--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> &lt;center&gt;刘欧 Liu Ou &lt;/center&gt;<br /> <br /> ===The Development of Crosstalk===<br /> <br /> Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)<br /> <br /> Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)夹注应在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) <br /> <br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)<br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people 这句话语法错误--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) . The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata 这句话关联词不完整， spread主谓注意一致，注意逗号的使用以及夹注在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:01)<br /> <br /> ===Four Basic Skills in Crosstalk===<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194)作者？--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation 不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). By learning all kinds of sounds to gain the ability to imitate不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:11)<br /> <br /> ===Characteristics of Crosstalk===<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)参考格式(Liu Miqing 2010, 17) --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties 没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> <br /> “Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)<br /> <br /> Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)<br /> <br /> ===Famous Artists of CrossTalk===<br /> <br /> In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )<br /> <br /> ===Terms and Expressions===<br /> <br /> speaking, imitating, teasing and singing 说学逗唱<br /> <br /> Taiping lyrics 太平歌词<br /> <br /> Baofu 包袱<br /> <br /> Drama Talks 《戏剧杂谈》<br /> <br /> Drunkenness 《醉酒》<br /> <br /> Selling Tickets 《卖挂票》<br /> <br /> ===Questions===<br /> <br /> 1.When did crosstalk form its format?<br /> <br /> 2.What is Taiping lyrics?<br /> <br /> 3.Who was regarded as the “ancestor”of crosstalk art ?<br /> <br /> 4.What are the four basic skills of crosstalk?<br /> <br /> ===Answers===<br /> <br /> 1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.<br /> <br /> 2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.<br /> <br /> 3.Zhu Shaowen.<br /> <br /> 4.They are speaking, imitating, teasing and singing.<br /> <br /> ===References===<br /> <br /> 1.Hou Baolin,Xue Baokun,侯宝林,薛宝坤.(1982)，《相声溯源》，People's Education Press<br /> <br /> 2.https://cul.sohu.com/20090619/n264630449.shtml<br /> <br /> 3.https://baike.so.com/doc/1925383-2037001.html<br /> <br /> 4.https://baijiahao.baidu.com/s?id=1590742532351773378<br /> <br /> 注意参考文献格式：<br /> Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO - Liu Yi 刘艺 202070080640 MTI===<br /> <br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)<br /> <br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position. Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> <br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)<br /> <br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 07:36, 21 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==<br /> <br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> <br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. <br /> <br /> At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. <br /> <br /> Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. <br /> <br /> He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. <br /> <br /> Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. <br /> <br /> Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.<br /> <br /> His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.<br /> <br /> 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”<br /> <br /> History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. <br /> <br /> It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> <br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> <br /> 英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)<br /> <br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> 参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 MTI 英语笔译==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> [[File:Iconic Building of Mogao Grottoes.jpg|150px|thumb|left|Iconic Building of Mogao Grottoes]] <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170) <br /> <br /> Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)<br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178) <br /> [[File:Taoist Wang Yuanlu.jpg|100px|thumb|right|Taoist Wang Yuanlu]]<br /> By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) <br /> <br /> During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ===Art===<br /> [[File:A Chaitya with a Central Pillar.jpg|150px|thumb|right|A Chaitya with a Central Pillar]]<br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ===[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|150px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]===<br /> [[File:Cave 251 in Northern Wei.jpg|150px|thumb|right|Cave 251 in Northern Wei]]<br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) <br /> <br /> The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)<br /> [[File:Cave 68 in Tang Dynasty.jpg|150px|thumb|right|Cave 68 in Tang Dynasty]]<br /> In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) <br /> <br /> In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)<br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)<br /> <br /> The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:44, 21 December 2020 (UTC)<br /> <br /> ===[[File:Cave 3 in Yuan Dynasty.jpg|100px|thumb|left|Cave 3 in Yuan Dynasty]]===<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong ofTang Dynasty 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.<br /> <br /> MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> Duan Wenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-Level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==<br /> <br /> ===Four State-Level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today. <br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.(Xu Ling,2019)<br /> <br /> ====Simuwu Ding====<br /> <br /> [[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]] <br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).<br /> <br /> Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015). <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (1700 BC-256 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015). <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> [[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]] <br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020). <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016). <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> [[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]] <br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> [[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]] <br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu &amp; Zhao Jing, 2019).<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu &amp; Zhao Jing, 2019). <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).<br /> <br /> ===Terms and Expressions===<br /> <br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> Anna 安娜.(2015).中国人的鼎文化[The Ding Culture of the Chinese]. 科学大观园(15),72-73.<br /> <br /> Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟[The Chime Bells of Marquis Yi ]. 中华文化论坛(11),2.<br /> <br /> Li Xiaohu &amp; Zhao Jing 李小虎 &amp; 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读[The Artistic Effect of the Bronze Galloping Horse]. 艺术教育(09),170-171.<br /> <br /> Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣[On the Jade Suit with Gold Thread in Han Tombs in Mancheng] .文物鉴定与鉴赏 (03):38-39.<br /> <br /> Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[Modern Chinese Dictionary (the 7th edition)]. 北京:商务印书馆.<br /> <br /> Wang Jing 王静.(2008).汉代玉衣研究[A Study of Jade Clothes in Han Dynasty].(硕士学位论文,河北师范大学).<br /> <br /> Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi ].文史知识 (11):1-2.<br /> <br /> Xu Ling 徐玲.(2019).博物馆与近现代中国文物保护[Museums and the Protection of Cultural Relics in Modern China]. 中国博物馆(01),57-61. <br /> <br /> Zhou Yi 周仪.(2016).“八音合鸣 乐舞齐容”——大型乐舞作品《编钟乐舞》述评[The Comment on Bianzhong Yuewu]. 戏剧之家(19),66-67+79.<br /> <br /> == Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 MTI英语笔译 ==<br /> <br /> ====I.Introduction==== <br /> <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> <br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> <br /> ====[[File:A Panorama view of the Forbidden City.jpg|300px|thumb|left|A Panorama view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> <br /> The common English name &quot;Forbidden City&quot; is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. (Li Xieping1997, (04)29-31)<br /> <br /> “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. (Li Xieping1997, (04)29-31)<br /> <br /> Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)<br /> <br /> In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) <br /> <br /> In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. (Yu Zhuoyun1984,30)<br /> <br /> In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin &amp; Qu Wanlin 2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> <br /> Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)<br /> <br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes<br /> Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(Xie Li 2005,(03)100-102)<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22)<br /> <br /> The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. (Website:The Collection of the Palace Museum )<br /> <br /> Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 09:48, 21 December 2020 (UTC)<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602 MTI 英语笔译==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.(Zhou Dandi,Yue Shufa 2012,12) <br /> <br /> ====Six Procedures====<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.(Gao Xiaoqian 2017,235)<br /> <br /> Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts.(Gao Xiaoqian 2017,235) <br /> <br /> Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment.(Gao Xiaoqian 2017,235) <br /> <br /> Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage.(Gao Xiaoqian 2017,235) <br /> <br /> What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes.(Gao Xiaoqian 2017,235) <br /> <br /> Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family.(Gao Xiaoqian 2017,235) <br /> <br /> Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ====Customs====<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017,235)<br /> <br /> After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017,235)<br /> <br /> The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ====Development====<br /> <br /> As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi,Yue Shufa 2012,15)<br /> <br /> Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics.(Zhou Dandi,Yue Shufa 2012,15)--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:54, 20 December 2020 (UTC)Mo Ling<br /> <br /> ====References====<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage Customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the Evolution of Chinese Marriage Customs Since Modern Times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ====Terms and Expressions====<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ====Questions====<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ====Answers====<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603 MTI英语笔译==<br /> &lt;center&gt; Ouyang Ling 欧阳玲 &lt;/center&gt;<br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac has been engraved in every Chinese people. <br /> <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented without sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most time-honored one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). <br /> <br /> Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). <br /> <br /> There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some researches on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign can not only reveal one’s age, but also represent his or her personality, career prospects and way of life according to Chinese superstition(The Editorial Board, 2010: 40). <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodiac sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creature, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804)<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight against each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). <br /> <br /> And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac(The Editorial Board, 2010: 34-35).<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme has developed a profound connotation and implications through generations. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> --[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:13, 20 December 2020 (UTC)<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641 英语口译==<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the &quot;Going up to the mountain of swords and going down to the sea of ​​fire&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies. <br /> <br /> Introduction<br /> <br /> Chinese Clothing has a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages.(Mei Hua-2010-page-1)<br /> <br /> 1-Chinese traditional clothing<br /> <br /> Traditional clothing can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> 1:1.Traditional Han Chinese Clothing (Han Fu)<br /> <br /> It refers to the attire worn by the Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> 1:2.Chinese Suit(Tang Zhuang)<br /> <br /> It is a combination of the Manchu male jacket of the Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> 1:3.Cheongsam(Qi Pao)<br /> <br /> Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> 1:4.Chinese Tunic Suit(Zhongshan Zhuang)<br /> <br /> Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> 2.Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> 2:1.The Aesthetic Performance of Design<br /> <br /> Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that&quot;the upper part should be short, the below part should be long&quot;; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the &quot;long upper part,short below part&quot;ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)<br /> <br /> 2:2.The Aesthetic Performance of colors<br /> <br /> Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusk, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color.(Jiangsu, 2016,page-6)<br /> <br /> In Chinese traditional clothing colors red has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)<br /> In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi<br /> <br /> ==Conclusion==<br /> Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.<br /> <br /> <br /> 2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> Culture=Topic Chinese Traditional Dance=Pingki Tanchangya, Student No:201921080004<br /> ,Major: Comparative Literature and cross culture studies.<br /> <br /> 1. Introduction<br /> <br /> There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. &quot; Lianxiang &quot; is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)<br /> <br /> <br /> 2. Characteristics of the Dance<br /> <br /> Characteristics of the movements <br /> <br /> There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)<br /> <br /> 3. The Dragon Dance<br /> <br /> The Dragon dance is a form of traditional dance and performance in Chinese culture. Like the lion dance it is most often seen in festive celebrations. Many Chinese people often use the term &quot;Descendants of the Dragon&quot; as a sign of ethnic identity, as part of a trend started in the 1970s. Chinese people who taught them agriculture, law and medicine, the foundations of civilization.<br /> Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom. The appearance of a dragon is both frightening and bold.The Dragon Dance originated during the Han Dynasty and was started by the Chinese who had shown great belief and respect towards the dragon. It is believed to have begun as part of the farming and harvest culture, also with origins as a method of healing and preventing sickness. It was also a popular event during the Song Dynasty and become a folk activity and like the lion dance, was most often seen in festive celebrations.<br /> As the dragon gives people a feeling of great respect, it is often called the Sacred Dragon. The emperors of ancient China considered themselves as the dragon. The Dragon is also the emblem of Imperial Authority. It symbolizes supernatural power, goodness, fertility, vigilance and dignity.<br /> <br /> 4. The lion Dance<br /> <br /> The lion dance is a traditional Chinese dance performed on big occasions, such as the Spring Festival (Chinese New Year) for good luck, as it is believed that the lion is an auspicious animal.<br /> In Chinese culture, the lion symbolizes power, wisdom, and superiority. People perform lion dances at Chinese festivals or big occasions to bring good fortune and chase away evil spirits.The lion dance is one of the most important traditions during Chinese New Year. It is performed to bring prosperity and good luck for the upcoming year. The lion dance is also a way to create a festive atmosphere and bring happiness. Performed in a lion costume, accompanied by the music of beating drums, clashing cymbals, and resounding gongs, lion dances imitate a lion's various movements or demonstrate martial arts, depending on the style. Though lion dances all use similar costumes, during its long development, the lion dance has divided into two styles: southern and northern.<br /> <br /> 4.1 The Southern Lion Dance<br /> <br /> The southern lion dance originated in Guangdong, and it is the style popular in Hong Kong, Macau, and the hometowns of overseas Chinese. The southern lion dance is a performance based on the study of a lion's behavior, with an emphasis on actions like scratching and shaking of the body. Performances are vivid and entertaining, even comical. There are also skillful performances, such as playing with a ball, which includes swallowing it.<br /> <br /> 4.2 The Northern Lion Dance<br /> <br /> The northern lion dance has close relations to kungfu Chinese martial arts. A young lion is performed by a single person and an adult lion is performed by a duo. Costumes are more robust, and less decorative, to allow for more movement. In the adult lion dance, the performer in front holding the lion's head is often lifted by the other to make the lion stand up. Northern lion dances are more gymnastic, involving rolling, wrestling, leaping, jumping, climbing, or kowtowing. The best places to see northern Chinese lion dances are China's martial arts theaters, like the Red Theater in Beijing, or even at the Shaolin Temple.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 14:19, 20 December 2020 (UTC)<br /> <br />  5. Conclusion<br /> <br /> &quot;Lianxiang” is a remark traditional dance that popularized in lots of regions and nations. It’s a folk dance that combines entertainment and body-building. Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom.The lion dance is an excellent example of Chinese folk culture, which has spread across the world with Chinese immigration. Overseas Chinese in Europe, America, etc. have established many lion dance clubs, performing on Chinese festivals or big occasions, particularly Chinese New Year.<br /> <br /> <br /> ===Terms and Expressions===<br /> 1.Han Dynasty 汉朝。<br /> <br /> 2.Traditional dance history 传统舞蹈史。<br /> <br /> 3.The lion Dance 舞狮。<br /> <br /> 4.The Dragon Dance 龙舞。<br /> <br /> 5.Lianxing 联兴。<br /> <br /> 6.Chinese Dance 中国舞。<br /> <br /> 7.Festivals 节庆。<br /> <br /> <br /> <br /> 6. Questions:<br /> <br /> 1. What is lianxing?<br /> 2. What is the Dragon Dance? Have you seen it before? And Where?<br /> 3. The dragon Dance originated from where?<br /> 4. what Lion Dances Symbolized?<br /> 5. How many Chinese Traditional Dance names you know?<br /> <br /> Answers:<br /> <br /> 1.&quot;Lianxiang&quot; is generally a traditional dance that is quite popular in lots of regions.<br /> 2. The Dragon dance is a form of traditional dance and performance in Chinese culture. Yes, I have seen it before in China.<br /> 3. The Dragon Dance originated from the Han Dynasty. It was started by the Chinese people those had shown great belief and respect towards the dragon.<br /> 4 The lion dance performed at Chinese festivals and<br />  “Lion” symbolizes power, wisdom, and superiority.<br /> 5.<br /> 1.The folk dance.<br /> 2 The Duhuang Dance.<br /> 3.The Lion Dance.<br /> 4.The Dragon Dance.<br /> <br /> Reference: <br /> <br /> https://en.wikipedia.org/wiki/History_of_Chinese_dance.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-JFYS201701031.htm.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-TIRE200403012.htm.<br /> <br /> https://www.atlantis-press.com/proceedings/etmhs-16/25849367.<br /> <br /> Origin of lianxiang.http://www.google.cn.<br /> <br /> Classification of Lian Xiang. http://www.google.cn.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 15:27, 20 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604 ==<br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604 英语笔译 ==--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.（后面好像缺了文献的引用，参考文献中的没有在正文体现）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12) <br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting it. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please?<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. (这句话的因果关系不知道是什么，改错了就删掉我的就好）The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage. where is source coming?<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council included &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared it as the world intangible cultural heritage.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)(sorry,又忘记复制粘贴，直接改动了）<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. <br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels is basically specific. <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> <br /> [[File:zun.left.jpg|300px|thumb|left]]<br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty and Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than it in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking games is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康<br /> <br /> 2.Chinese Dionysus 中国酒神<br /> <br /> 3.husked sorghum rice 秫米饭<br /> <br /> 4.Baishui 白水县（陕西渭南市辖县）<br /> <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县）<br /> <br /> 6.fermented wine 发酵酒<br /> <br /> 7.Distilled liquor 蒸馏酒<br /> <br /> 8.Yellow rice wine 黄酒<br /> <br /> 9.Shaoxing Wine 绍兴酒 <br /> <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> <br /> 11.Mellow Wine 醇香酒 <br /> <br /> 12.Dongwu Rice Wine 东吴老酒<br /> <br /> 13.Liquor and Spirits 白酒 <br /> <br /> 14.Kweichow Moutai 贵州茅台<br /> <br /> 15.sauce-flavor type 酱香型 <br /> <br /> 16.light flavor type 清香型 <br /> <br /> 17.strong flavor type 浓香型 <br /> <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> <br /> 19.the Peiligang culture period裴李岗文化时期 <br /> <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> <br /> 21.Zun 樽 <br /> <br /> 22.injection vessel and bowl 注子和注碗<br /> <br /> 23.drinking order 行酒令<br /> <br /> 23.drinking games 行酒令--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====Questions==== （问题好像还要再加一两个 忘记标准了）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> 2.What is the most prominent characteristic of Shaoxing Wine?--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> == China Railway High-Speed ​​(CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> Introduction <br /> <br /> High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot;[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]<br /> <br /> Definition and terminology <br /> <br /> High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高 铁; Gāotiě; &quot;High-speed rail&quot;) are commonly used trains E In class D trains (动 车; Dòngchē; &quot;Electrical multiple unit&quot;) are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Influence on airlines<br /> <br /> The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a<br /> Technologies <br /> Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐 号; Traditional Chinese: 和 諧 號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]<br /> <br /> 4 + 4 HSR network <br /> <br /> The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]<br /> <br /> Advantages <br /> <br /> HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Wenzhou accident <br /> <br /> On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]<br /> <br /> Terms and expressions<br /> <br /> 高 铁 - High-speed rail<br /> 动 车 - Electrical multiple unit<br /> 和 諧 號 – Harmony<br /> 復興號 - Rejuvenation<br /> <br /> Questions <br /> <br /> 1. What does the World Bank research say?<br /> 2. What forced China's domestic airlines to cut airfares and cancel regional flights?<br /> 3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?<br /> 4. What caused the accident?<br /> 5. What are the benefits of HSR?<br /> <br /> Answers<br /> <br /> 1. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot; <br /> 2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.<br /> 3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. <br /> 4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.<br /> 5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.<br /> <br /> References <br /> <br /> http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf<br /> https://ru.qaz.wiki/wiki/China_Railway_High-speed<br /> https://en.m.wikipedia.org/wiki/Wayback_Machine <br /> http://www.railjournal.com/A/xfeature2.html<br /> https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects and there are great differences between the dialects because of the speech impediment. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, called Putonghua and also known as Mandarin in Western countries. Government also has implemented a strategy to promote Putonghua and to facilitate it learning with Pinyin . Cheng Aimin (2019,24)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusion.== <br /> Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> <br /> Lingo: 林戈<br /> <br /> Lingo: 行话，语言<br /> <br /> Putonghua: 普通话<br /> <br /> Await student:等待学生<br /> <br /> Pinyin: 等待学生<br /> <br /> Pinyin: 拼音<br /> <br /> Lofty: 崇高<br /> <br /> Vernacular: 白话<br /> <br /> Swine: 猪<br /> <br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=118227 2020-12-21T11:40:54Z

<p>Sagara Seydou 3: /* Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies= */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 英语口译==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important culture, it has both tangible cultural resources and intangible ones. Red culture in China refers to the advanced culture with Chinese characteristics created by the Communism Party of China and Chinese people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has a brilliant history and splendid civilization in ancient times. However, after the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism to China. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historical mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is tightly related to material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their courage, and summon their spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of the Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of the socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising,communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nanchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI 英语笔译==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:46, 20 December 2020 (UTC)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> <br /> 1. Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi - Tibet tea horse road (wade ancient road) began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other.During the Ming and Qing dynasties, the government controlled tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. (Kang Yuming, Li Jinfeng2020,281) <br /> <br /> 3. The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.<br /> 4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers. (Kang Yuming, Li Jinfeng2020,282)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:06, 20 December 2020 (UTC)<br /> <br /> ===Historical Values===<br /> 1. The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. (Ji Jing2016,354)<br /> <br /> 3. Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.<br /> <br /> 4. The Path of National Spirituality<br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit. (Ji Jing2016,355)<br /> <br /> 5. The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.<br /> <br /> 6. The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.<br /> <br /> 7. The road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:10, 20 December 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:11, 20 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> <br /> Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].<br /> ''北京规划建设'' BeiJing Planning Review (04)131-140.<br /> <br /> Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技''Rural Economy and Science (11)281-283.<br /> <br /> Li Gang, Li Wei李刚,李薇. (2011). 论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History]. ''西北大学学报''Journal of Northwestern University (04):113-117.<br /> <br /> Ji Ji纪静. (2016). 茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ]. ''福建茶叶'' Tea In Fujian (07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:20, 21 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪 学号202070080639 MTI 英语口译==<br /> <br /> ===Four satirical novels in ancient China===<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin)<br /> <br /> ====Introduction====<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(wenku)<br /> <br /> ==== Nie Hai Hua====<br /> <br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> <br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> <br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.(wenku)<br /> <br /> ==== the Travels of an Old Man====<br /> <br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.(wenku)<br /> <br /> ==== The Records of Officialdom Exposure====<br /> <br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> <br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together, involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> <br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.(wenku)<br /> <br /> ==== 20 years witness strange present situation====<br /> <br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> <br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> <br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.(wenku)<br /> <br /> ==== Conclution====<br /> <br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> <br /> *[1]https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin<br /> *[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012<br /> *[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012<br /> *[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012<br /> *[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012<br /> *[6]四大谴责小说政治批判手法研究[J].李辉东,2017<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Play - Li Lili 李丽丽 No.202070080594 MTI 英语笔译 ==<br /> <br /> ====The Origin of Shadow Play====<br /> Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he was glued to it. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13) <br /> <br /> There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were a variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play was recorded in Song Dynasty. Its rise and development were closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)<br /> <br /> ====Introduction====<br /> <br /> [[File:shadow play.jpg|200px|thumb|left|shadow play-1]]<br /> <br /> In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)<br /> <br /> Typically, a shadow puppet has three rods and some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)<br /> <br /> So how to make a puppet? First, draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; fourth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)<br /> <br /> [[Media:shadow play.jpg|200px|thumb|left|shadow play-1[https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=%E7%9A%AE%E5%BD%B1%E6%88%8F&amp;step_word=&amp;hs=0&amp;pn=52&amp;spn=0&amp;di=159940&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3259573009%2C2741597473&amp;os=1545447922%2C43065069&amp;simid=3408503629%2C426405487&amp;adpicid=0&amp;lpn=0&amp;ln=1690&amp;fr=&amp;fmq=1608548398687_R&amp;fm=result&amp;ic=0&amp;s=undefined&amp;hd=&amp;latest=&amp;copyright=&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=https%3A%2F%2Ftimgsa.baidu.com%2Ftimg%3Fimage%26quality%3D80%26size%3Db9999_10000%26sec%3D1608558486081%26di%3Db48786725188bc991e17f2b578acece7%26imgtype%3D0%26src%3Dhttp%3A%2F%2Fimg2.jiemian.com%2Fjiemian%2Foriginal%2F20170817%2F150295685830448400_a580xH.jpg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Fooo_z%26e3B3tj4twg_z%26e3Bv54AzdH3Fw6ptvsjAzdH3F8cc088c_z%26e3Bip4s&amp;gsm=35&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]]]<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people have short beard, but the elderly men have long beard. (Wang Yexia 2012,10-11)<br /> <br /> The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. The red is a symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）<br /> <br /> After the end of the &quot;Cultural Revolution&quot;, shadow puppet art rapidly revived, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> <br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.（Zhu Hengfu 2020,36）<br /> <br /> ===References===<br /> *Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House] <br /> *Wei Liqun 魏力群.(2018). 《小书大传承-皮影》[&quot;Small Book, Big Heritage - Shadow Play&quot;] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]<br /> *Zhu Hengfu 朱恒夫.(2020). 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]<br /> <br /> ===Words and Expressions===<br /> *shadow puppet皮影戏 <br /> *paper cutting 剪纸<br /> *ventriloquism 口技<br /> *manipulating rod 操纵杆<br /> *five facial features 五官<br /> *sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> *Cultural Revolution 文化大革命<br /> *intangible cultural heritage 非物质文化遗产<br /> <br /> ===Questions===<br /> *1. When is the earliest shadow puppet’s record? <br /> *2. What art of forms do shadow play use?<br /> *3. What does a red head stand for in a play?<br /> *4. When is shadow play put in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.<br /> <br /> ===Answers===<br /> *1. Song dynasty.<br /> *2. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> *3. The red is a symbol of a heroic and upstanding character.<br /> *4. On November 27, 2011.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:32, 20 December 2020 (UTC)<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI 英语笔译==<br /> <br /> ===Introduction ===<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) <br /> <br /> After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> === Analysis of Confucian Culture ===<br /> <br /> ==== Intelligence Development ====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) <br /> <br /> For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.<br /> <br /> ====Spiritual Guidance ====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> ====Order Construction ====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)<br /> <br /> In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)<br /> <br /> Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ===The Contemporary Value of Confucian Culture ===<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> ====Ideological and Political Education ====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ==== Modern Economic Construction====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) <br /> <br /> Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) <br /> <br /> Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.&quot; It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)<br /> <br /> The concept not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)<br /> <br /> ==== Legal Construction ====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) <br /> <br /> Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)<br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) <br /> <br /> In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) <br /> <br /> In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)<br /> <br /> ===The Confucius Institute ===<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)<br /> <br /> At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) <br /> <br /> Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ===Terms and Expressions ===<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ===Questions ===<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> *Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly (03) 60-62.<br /> <br /> *Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College (02) 65-70.<br /> <br /> *Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position (10) 55-56. <br /> <br /> *Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University (05) 31-33.<br /> <br /> *Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World (10) 67-68. <br /> <br /> *Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (02) 77-83. <br /> <br /> *Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University (05) 28-33. <br /> <br /> *Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (06) 39-43. <br /> <br /> *Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:04, 20 December 2020 (UTC)<br /> <br /> ==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)<br /> <br /> Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947) <br /> <br /> In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati.(Qian Zhongshu 1947)<br /> <br /> Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.quotation is missing--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947). <br /> <br /> Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. <br /> <br /> To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020) <br /> <br /> Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].<br /> <br /> Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].<br /> <br /> --[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> == ''' Crosstalk''' Liu Ou 刘欧， 202070080597，MTI==<br /> 大标题+小标题+名字拼音+汉字+学号+专业--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> &lt;center&gt;刘欧 Liu Ou &lt;/center&gt;<br /> <br /> ===The Development of Crosstalk===<br /> <br /> Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)<br /> <br /> Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)夹注应在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) <br /> <br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)<br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people 这句话语法错误--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) . The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata 这句话关联词不完整， spread主谓注意一致，注意逗号的使用以及夹注在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:01)<br /> <br /> ===Four Basic Skills in Crosstalk===<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194)作者？--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation 不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). By learning all kinds of sounds to gain the ability to imitate不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:11)<br /> <br /> ===Characteristics of Crosstalk===<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)参考格式(Liu Miqing 2010, 17) --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties 没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> <br /> “Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)<br /> <br /> Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)<br /> <br /> ===Famous Artists of CrossTalk===<br /> <br /> In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )<br /> <br /> ===Terms and Expressions===<br /> <br /> speaking, imitating, teasing and singing 说学逗唱<br /> <br /> Taiping lyrics 太平歌词<br /> <br /> Baofu 包袱<br /> <br /> Drama Talks 《戏剧杂谈》<br /> <br /> Drunkenness 《醉酒》<br /> <br /> Selling Tickets 《卖挂票》<br /> <br /> ===Questions===<br /> <br /> 1.When did crosstalk form its format?<br /> <br /> 2.What is Taiping lyrics?<br /> <br /> 3.Who was regarded as the “ancestor”of crosstalk art ?<br /> <br /> 4.What are the four basic skills of crosstalk?<br /> <br /> ===Answers===<br /> <br /> 1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.<br /> <br /> 2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.<br /> <br /> 3.Zhu Shaowen.<br /> <br /> 4.They are speaking, imitating, teasing and singing.<br /> <br /> ===References===<br /> <br /> 1.Hou Baolin,Xue Baokun,侯宝林,薛宝坤.(1982)，《相声溯源》，People's Education Press<br /> <br /> 2.https://cul.sohu.com/20090619/n264630449.shtml<br /> <br /> 3.https://baike.so.com/doc/1925383-2037001.html<br /> <br /> 4.https://baijiahao.baidu.com/s?id=1590742532351773378<br /> <br /> 注意参考文献格式：<br /> Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO - Liu Yi 刘艺 202070080640 MTI===<br /> <br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)<br /> <br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position. Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> <br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)<br /> <br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 07:36, 21 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==<br /> <br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> <br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. <br /> <br /> At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. <br /> <br /> Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. <br /> <br /> He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. <br /> <br /> Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. <br /> <br /> Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.<br /> <br /> His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.<br /> <br /> 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”<br /> <br /> History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. <br /> <br /> It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> <br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> <br /> 英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)<br /> <br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> 参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 MTI 英语笔译==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> [[File:Iconic Building of Mogao Grottoes.jpg|150px|thumb|left|Iconic Building of Mogao Grottoes]] <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170) <br /> <br /> Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)<br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178) <br /> [[File:Taoist Wang Yuanlu.jpg|100px|thumb|right|Taoist Wang Yuanlu]]<br /> By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) <br /> <br /> During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ===Art===<br /> [[File:A Chaitya with a Central Pillar.jpg|150px|thumb|right|A Chaitya with a Central Pillar]]<br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ===[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|150px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]===<br /> [[File:Cave 251 in Northern Wei.jpg|150px|thumb|right|Cave 251 in Northern Wei]]<br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) <br /> <br /> The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)<br /> [[File:Cave 68 in Tang Dynasty.jpg|150px|thumb|right|Cave 68 in Tang Dynasty]]<br /> In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) <br /> <br /> In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)<br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)<br /> <br /> The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:44, 21 December 2020 (UTC)<br /> <br /> ===[[File:Cave 3 in Yuan Dynasty.jpg|100px|thumb|left|Cave 3 in Yuan Dynasty]]===<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong ofTang Dynasty 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.<br /> <br /> MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> Duan Wenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-Level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==<br /> <br /> ===Four State-Level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today. <br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.(Xu Ling,2019)<br /> <br /> ====Simuwu Ding====<br /> <br /> [[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]] <br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).<br /> <br /> Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015). <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (1700 BC-256 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015). <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> [[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]] <br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020). <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016). <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> [[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]] <br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> [[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]] <br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu &amp; Zhao Jing, 2019).<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu &amp; Zhao Jing, 2019). <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).<br /> <br /> ===Terms and Expressions===<br /> <br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> Anna 安娜.(2015).中国人的鼎文化[The Ding Culture of the Chinese]. 科学大观园(15),72-73.<br /> <br /> Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟[The Chime Bells of Marquis Yi ]. 中华文化论坛(11),2.<br /> <br /> Li Xiaohu &amp; Zhao Jing 李小虎 &amp; 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读[The Artistic Effect of the Bronze Galloping Horse]. 艺术教育(09),170-171.<br /> <br /> Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣[On the Jade Suit with Gold Thread in Han Tombs in Mancheng] .文物鉴定与鉴赏 (03):38-39.<br /> <br /> Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[Modern Chinese Dictionary (the 7th edition)]. 北京:商务印书馆.<br /> <br /> Wang Jing 王静.(2008).汉代玉衣研究[A Study of Jade Clothes in Han Dynasty].(硕士学位论文,河北师范大学).<br /> <br /> Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi ].文史知识 (11):1-2.<br /> <br /> Xu Ling 徐玲.(2019).博物馆与近现代中国文物保护[Museums and the Protection of Cultural Relics in Modern China]. 中国博物馆(01),57-61. <br /> <br /> Zhou Yi 周仪.(2016).“八音合鸣 乐舞齐容”——大型乐舞作品《编钟乐舞》述评[The Comment on Bianzhong Yuewu]. 戏剧之家(19),66-67+79.<br /> <br /> == Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 MTI英语笔译 ==<br /> <br /> ====I.Introduction==== <br /> <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> <br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> <br /> ====[[File:A Panorama view of the Forbidden City.jpg|300px|thumb|left|A Panorama view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> <br /> The common English name &quot;Forbidden City&quot; is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. (Li Xieping1997, (04)29-31)<br /> <br /> “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. (Li Xieping1997, (04)29-31)<br /> <br /> Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)<br /> <br /> In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) <br /> <br /> In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. (Yu Zhuoyun1984,30)<br /> <br /> In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin &amp; Qu Wanlin 2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> <br /> Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)<br /> <br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes<br /> Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(Xie Li 2005,(03)100-102)<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22)<br /> <br /> The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. (Website:The Collection of the Palace Museum )<br /> <br /> Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 09:48, 21 December 2020 (UTC)<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602 MTI 英语笔译==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.(Zhou Dandi,Yue Shufa 2012,12) <br /> <br /> ====Six Procedures====<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.(Gao Xiaoqian 2017,235)<br /> <br /> Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts.(Gao Xiaoqian 2017,235) <br /> <br /> Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment.(Gao Xiaoqian 2017,235) <br /> <br /> Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage.(Gao Xiaoqian 2017,235) <br /> <br /> What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes.(Gao Xiaoqian 2017,235) <br /> <br /> Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family.(Gao Xiaoqian 2017,235) <br /> <br /> Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ====Customs====<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017,235)<br /> <br /> After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017,235)<br /> <br /> The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ====Development====<br /> <br /> As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi,Yue Shufa 2012,15)<br /> <br /> Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics.(Zhou Dandi,Yue Shufa 2012,15)--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:54, 20 December 2020 (UTC)Mo Ling<br /> <br /> ====References====<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage Customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the Evolution of Chinese Marriage Customs Since Modern Times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ====Terms and Expressions====<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ====Questions====<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ====Answers====<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603 MTI英语笔译==<br /> &lt;center&gt; Ouyang Ling 欧阳玲 &lt;/center&gt;<br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac has been engraved in every Chinese people. <br /> <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented without sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most time-honored one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). <br /> <br /> Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). <br /> <br /> There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some researches on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign can not only reveal one’s age, but also represent his or her personality, career prospects and way of life according to Chinese superstition(The Editorial Board, 2010: 40). <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodiac sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creature, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804)<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight against each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). <br /> <br /> And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac(The Editorial Board, 2010: 34-35).<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme has developed a profound connotation and implications through generations. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> --[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:13, 20 December 2020 (UTC)<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641 英语口译==<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the &quot;Going up to the mountain of swords and going down to the sea of ​​fire&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies. <br /> <br /> Introduction<br /> <br /> Chinese Clothing has a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages.(Mei Hua-2010-page-1)<br /> <br /> 1-Chinese traditional clothing<br /> <br /> Traditional clothing can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> 1:1.Traditional Han Chinese Clothing (Han Fu)<br /> <br /> It refers to the attire worn by the Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> 1:2.Chinese Suit(Tang Zhuang)<br /> <br /> It is a combination of the Manchu male jacket of the Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> 1:3.Cheongsam(Qi Pao)<br /> <br /> Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> 1:4.Chinese Tunic Suit(Zhongshan Zhuang)<br /> <br /> Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> 2.Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> 2:1.The Aesthetic Performance of Design<br /> <br /> Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that&quot;the upper part should be short, the below part should be long&quot;; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the &quot;long upper part,short below part&quot;ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)<br /> <br /> 2:2.The Aesthetic Performance of colors<br /> <br /> Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusk, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color.(Jiangsu, 2016,page-6)<br /> <br /> In Chinese traditional clothing colors red has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)<br /> In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi<br /> <br /> ==Conclusion==<br /> Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.<br /> <br /> <br /> 2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> Culture=Topic Chinese Traditional Dance=Pingki Tanchangya, Student No:201921080004<br /> ,Major: Comparative Literature and cross culture studies.<br /> <br /> 1. Introduction<br /> <br /> There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. &quot; Lianxiang &quot; is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)<br /> <br /> <br /> 2. Characteristics of the Dance<br /> <br /> Characteristics of the movements <br /> <br /> There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)<br /> <br /> 3. The Dragon Dance<br /> <br /> The Dragon dance is a form of traditional dance and performance in Chinese culture. Like the lion dance it is most often seen in festive celebrations. Many Chinese people often use the term &quot;Descendants of the Dragon&quot; as a sign of ethnic identity, as part of a trend started in the 1970s. Chinese people who taught them agriculture, law and medicine, the foundations of civilization.<br /> Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom. The appearance of a dragon is both frightening and bold.The Dragon Dance originated during the Han Dynasty and was started by the Chinese who had shown great belief and respect towards the dragon. It is believed to have begun as part of the farming and harvest culture, also with origins as a method of healing and preventing sickness. It was also a popular event during the Song Dynasty and become a folk activity and like the lion dance, was most often seen in festive celebrations.<br /> As the dragon gives people a feeling of great respect, it is often called the Sacred Dragon. The emperors of ancient China considered themselves as the dragon. The Dragon is also the emblem of Imperial Authority. It symbolizes supernatural power, goodness, fertility, vigilance and dignity.<br /> <br /> 4. The lion Dance<br /> <br /> The lion dance is a traditional Chinese dance performed on big occasions, such as the Spring Festival (Chinese New Year) for good luck, as it is believed that the lion is an auspicious animal.<br /> In Chinese culture, the lion symbolizes power, wisdom, and superiority. People perform lion dances at Chinese festivals or big occasions to bring good fortune and chase away evil spirits.The lion dance is one of the most important traditions during Chinese New Year. It is performed to bring prosperity and good luck for the upcoming year. The lion dance is also a way to create a festive atmosphere and bring happiness. Performed in a lion costume, accompanied by the music of beating drums, clashing cymbals, and resounding gongs, lion dances imitate a lion's various movements or demonstrate martial arts, depending on the style. Though lion dances all use similar costumes, during its long development, the lion dance has divided into two styles: southern and northern.<br /> <br /> 4.1 The Southern Lion Dance<br /> <br /> The southern lion dance originated in Guangdong, and it is the style popular in Hong Kong, Macau, and the hometowns of overseas Chinese. The southern lion dance is a performance based on the study of a lion's behavior, with an emphasis on actions like scratching and shaking of the body. Performances are vivid and entertaining, even comical. There are also skillful performances, such as playing with a ball, which includes swallowing it.<br /> <br /> 4.2 The Northern Lion Dance<br /> <br /> The northern lion dance has close relations to kungfu Chinese martial arts. A young lion is performed by a single person and an adult lion is performed by a duo. Costumes are more robust, and less decorative, to allow for more movement. In the adult lion dance, the performer in front holding the lion's head is often lifted by the other to make the lion stand up. Northern lion dances are more gymnastic, involving rolling, wrestling, leaping, jumping, climbing, or kowtowing. The best places to see northern Chinese lion dances are China's martial arts theaters, like the Red Theater in Beijing, or even at the Shaolin Temple.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 14:19, 20 December 2020 (UTC)<br /> <br />  5. Conclusion<br /> <br /> &quot;Lianxiang” is a remark traditional dance that popularized in lots of regions and nations. It’s a folk dance that combines entertainment and body-building. Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom.The lion dance is an excellent example of Chinese folk culture, which has spread across the world with Chinese immigration. Overseas Chinese in Europe, America, etc. have established many lion dance clubs, performing on Chinese festivals or big occasions, particularly Chinese New Year.<br /> <br /> <br /> ===Terms and Expressions===<br /> 1.Han Dynasty 汉朝。<br /> <br /> 2.Traditional dance history 传统舞蹈史。<br /> <br /> 3.The lion Dance 舞狮。<br /> <br /> 4.The Dragon Dance 龙舞。<br /> <br /> 5.Lianxing 联兴。<br /> <br /> 6.Chinese Dance 中国舞。<br /> <br /> 7.Festivals 节庆。<br /> <br /> <br /> <br /> 6. Questions:<br /> <br /> 1. What is lianxing?<br /> 2. What is the Dragon Dance? Have you seen it before? And Where?<br /> 3. The dragon Dance originated from where?<br /> 4. what Lion Dances Symbolized?<br /> 5. How many Chinese Traditional Dance names you know?<br /> <br /> Answers:<br /> <br /> 1.&quot;Lianxiang&quot; is generally a traditional dance that is quite popular in lots of regions.<br /> 2. The Dragon dance is a form of traditional dance and performance in Chinese culture. Yes, I have seen it before in China.<br /> 3. The Dragon Dance originated from the Han Dynasty. It was started by the Chinese people those had shown great belief and respect towards the dragon.<br /> 4 The lion dance performed at Chinese festivals and<br />  “Lion” symbolizes power, wisdom, and superiority.<br /> 5.<br /> 1.The folk dance.<br /> 2 The Duhuang Dance.<br /> 3.The Lion Dance.<br /> 4.The Dragon Dance.<br /> <br /> Reference: <br /> <br /> https://en.wikipedia.org/wiki/History_of_Chinese_dance.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-JFYS201701031.htm.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-TIRE200403012.htm.<br /> <br /> https://www.atlantis-press.com/proceedings/etmhs-16/25849367.<br /> <br /> Origin of lianxiang.http://www.google.cn.<br /> <br /> Classification of Lian Xiang. http://www.google.cn.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 15:27, 20 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604 ==<br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604 英语笔译 ==--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.（后面好像缺了文献的引用，参考文献中的没有在正文体现）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12) <br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting it. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please?<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. (这句话的因果关系不知道是什么，改错了就删掉我的就好）The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage. where is source coming?<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council included &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared it as the world intangible cultural heritage.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)(sorry,又忘记复制粘贴，直接改动了）<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. <br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels is basically specific. <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> <br /> [[File:zun.left.jpg|300px|thumb|left]]<br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty and Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than it in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking games is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康<br /> <br /> 2.Chinese Dionysus 中国酒神<br /> <br /> 3.husked sorghum rice 秫米饭<br /> <br /> 4.Baishui 白水县（陕西渭南市辖县）<br /> <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县）<br /> <br /> 6.fermented wine 发酵酒<br /> <br /> 7.Distilled liquor 蒸馏酒<br /> <br /> 8.Yellow rice wine 黄酒<br /> <br /> 9.Shaoxing Wine 绍兴酒 <br /> <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> <br /> 11.Mellow Wine 醇香酒 <br /> <br /> 12.Dongwu Rice Wine 东吴老酒<br /> <br /> 13.Liquor and Spirits 白酒 <br /> <br /> 14.Kweichow Moutai 贵州茅台<br /> <br /> 15.sauce-flavor type 酱香型 <br /> <br /> 16.light flavor type 清香型 <br /> <br /> 17.strong flavor type 浓香型 <br /> <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> <br /> 19.the Peiligang culture period裴李岗文化时期 <br /> <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> <br /> 21.Zun 樽 <br /> <br /> 22.injection vessel and bowl 注子和注碗<br /> <br /> 23.drinking order 行酒令<br /> <br /> 23.drinking games 行酒令--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====Questions==== （问题好像还要再加一两个 忘记标准了）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> 2.What is the most prominent characteristic of Shaoxing Wine?--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> == China Railway High-Speed ​​(CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> Introduction <br /> <br /> High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot;[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]<br /> <br /> Definition and terminology <br /> <br /> High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高 铁; Gāotiě; &quot;High-speed rail&quot;) are commonly used trains E In class D trains (动 车; Dòngchē; &quot;Electrical multiple unit&quot;) are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Influence on airlines<br /> <br /> The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a<br /> Technologies <br /> Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐 号; Traditional Chinese: 和 諧 號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]<br /> <br /> 4 + 4 HSR network <br /> <br /> The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]<br /> <br /> Advantages <br /> <br /> HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Wenzhou accident <br /> <br /> On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]<br /> <br /> Terms and expressions<br /> <br /> 高 铁 - High-speed rail<br /> 动 车 - Electrical multiple unit<br /> 和 諧 號 – Harmony<br /> 復興號 - Rejuvenation<br /> <br /> Questions <br /> <br /> 1. What does the World Bank research say?<br /> 2. What forced China's domestic airlines to cut airfares and cancel regional flights?<br /> 3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?<br /> 4. What caused the accident?<br /> 5. What are the benefits of HSR?<br /> <br /> Answers<br /> <br /> 1. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot; <br /> 2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.<br /> 3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. <br /> 4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.<br /> 5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.<br /> <br /> References <br /> <br /> http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf<br /> https://ru.qaz.wiki/wiki/China_Railway_High-speed<br /> https://en.m.wikipedia.org/wiki/Wayback_Machine <br /> http://www.railjournal.com/A/xfeature2.html<br /> https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects and there are great differences between the dialects because of the speech impediment. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, called Putonghua and also known as Mandarin in Western countries. Government also has implemented a strategy to promote Putonghua and to facilitate it learning with Pinyin . Cheng Aimin (2019,<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusion.== <br /> Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> <br /> Lingo: 林戈<br /> <br /> Lingo: 行话，语言<br /> <br /> Putonghua: 普通话<br /> <br /> Await student:等待学生<br /> <br /> Pinyin: 等待学生<br /> <br /> Pinyin: 拼音<br /> <br /> Lofty: 崇高<br /> <br /> Vernacular: 白话<br /> <br /> Swine: 猪<br /> <br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=118021 2020-12-21T10:09:37Z

<p>Sagara Seydou 3: /* Introduction */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 English Interpreting==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible and intangible culture. Red culture in China refers to the advanced culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historical mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of the Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of the socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising,communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI 英语笔译==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:46, 20 December 2020 (UTC)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> <br /> 1. Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi - Tibet tea horse road (wade ancient road) began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other.During the Ming and Qing dynasties, the government controlled tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. (Kang Yuming, Li Jinfeng2020,281) <br /> <br /> 3. The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.<br /> 4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers. (Kang Yuming, Li Jinfeng2020,282)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:06, 20 December 2020 (UTC)<br /> <br /> ===Historical Values===<br /> 1. The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. (Ji Jing2016,354)<br /> <br /> 3. Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.<br /> <br /> 4. The Path of National Spirituality<br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit. (Ji Jing2016,355)<br /> <br /> 5. The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.<br /> <br /> 6. The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.<br /> <br /> 7. The road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:10, 20 December 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:11, 20 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> <br /> Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].<br /> ''北京规划建设'' BeiJing Planning Review (04)131-140.<br /> <br /> Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技''Rural Economy and Science (11)281-283.<br /> <br /> Li Gang, Li Wei李刚,李薇. (2011). 论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History]. ''西北大学学报''Journal of Northwestern University (04):113-117.<br /> <br /> Ji Ji纪静. (2016). 茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ]. ''福建茶叶'' Tea In Fujian (07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:20, 21 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪 学号202070080639 MTI 英语口译==<br /> <br /> ===Four satirical novels in ancient China===<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin)<br /> <br /> ====Introduction====<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(wenku)<br /> <br /> ==== Nie Hai Hua====<br /> <br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> <br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> <br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.(wenku)<br /> <br /> ==== the Travels of an Old Man====<br /> <br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.(wenku)<br /> <br /> ==== The Records of Officialdom Exposure====<br /> <br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> <br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together, involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> <br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.(wenku)<br /> <br /> ==== 20 years witness strange present situation====<br /> <br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> <br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> <br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.(wenku)<br /> <br /> ==== Conclution====<br /> <br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> <br /> *[1]https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin<br /> *[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012<br /> *[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012<br /> *[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012<br /> *[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012<br /> *[6]四大谴责小说政治批判手法研究[J].李辉东,2017<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Play - Li Lili 李丽丽 No.202070080594 MTI 英语笔译 ==<br /> <br /> ====The Origin of Shadow Play====<br /> Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he was glued to it. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13) <br /> <br /> There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were a variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play was recorded in Song Dynasty. Its rise and development were closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)<br /> <br /> ====Introduction====<br /> <br /> [[Media:shadow play]]<br /> <br /> In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)<br /> <br /> Typically, a shadow puppet has three rods and some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)<br /> <br /> So how to make a puppet? First, draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; fourth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)<br /> <br /> [[Media:making method]]<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people have short beard, but the elderly men have long beard. (Wang Yexia 2012,10-11)<br /> <br /> The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. The red is a symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）<br /> <br /> After the end of the &quot;Cultural Revolution&quot;, shadow puppet art rapidly revived, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> <br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.（Zhu Hengfu 2020,36）<br /> <br /> ===References===<br /> *Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House] <br /> *Wei Liqun 魏力群.(2018). 《小书大传承-皮影》[&quot;Small Book, Big Heritage - Shadow Play&quot;] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]<br /> *Zhu Hengfu 朱恒夫.(2020). 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]<br /> <br /> ===Words and Expressions===<br /> *shadow puppet皮影戏 <br /> *paper cutting 剪纸<br /> *ventriloquism 口技<br /> *manipulating rod 操纵杆<br /> *five facial features 五官<br /> *sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> *Cultural Revolution 文化大革命<br /> *intangible cultural heritage 非物质文化遗产<br /> <br /> ===Questions===<br /> *1. When is the earliest shadow puppet’s record? <br /> *2. What art of forms do shadow play use?<br /> *3. What does a red head stand for in a play?<br /> *4. When is shadow play put in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.<br /> <br /> ===Answers===<br /> *1. Song dynasty.<br /> *2. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> *3. The red is a symbol of a heroic and upstanding character.<br /> *4. On November 27, 2011.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:32, 20 December 2020 (UTC)<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI 英语笔译==<br /> <br /> ===Introduction ===<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) <br /> <br /> After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> === Analysis of Confucian Culture ===<br /> <br /> ==== Intelligence Development ====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) <br /> <br /> For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.<br /> <br /> ====Spiritual Guidance ====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> ====Order Construction ====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)<br /> <br /> In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)<br /> <br /> Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ===The Contemporary Value of Confucian Culture ===<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> ====Ideological and Political Education ====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ==== Modern Economic Construction====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) <br /> <br /> Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) <br /> <br /> Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.&quot; It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)<br /> <br /> The concept not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)<br /> <br /> ==== Legal Construction ====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) <br /> <br /> Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)<br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) <br /> <br /> In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) <br /> <br /> In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)<br /> <br /> ===The Confucius Institute ===<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)<br /> <br /> At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) <br /> <br /> Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ===Terms and Expressions ===<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ===Questions ===<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> *Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly (03) 60-62.<br /> <br /> *Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College (02) 65-70.<br /> <br /> *Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position (10) 55-56. <br /> <br /> *Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University (05) 31-33.<br /> <br /> *Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World (10) 67-68. <br /> <br /> *Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (02) 77-83. <br /> <br /> *Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University (05) 28-33. <br /> <br /> *Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (06) 39-43. <br /> <br /> *Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:04, 20 December 2020 (UTC)<br /> <br /> ==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)<br /> <br /> Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947) <br /> <br /> In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati.(Qian Zhongshu 1947)<br /> <br /> Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.quotation is missing--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947). <br /> <br /> Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. <br /> <br /> To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020) <br /> <br /> Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].<br /> <br /> Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].<br /> <br /> --[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> == ''' Crosstalk''' Liu Ou 刘欧， 202070080597，MTI==<br /> 大标题+小标题+名字拼音+汉字+学号+专业--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> &lt;center&gt;刘欧 Liu Ou &lt;/center&gt;<br /> <br /> ===The Development of Crosstalk===<br /> <br /> Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)<br /> <br /> Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)夹注应在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) <br /> <br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)<br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people 这句话语法错误--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) . The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata 这句话关联词不完整， spread主谓注意一致，注意逗号的使用以及夹注在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:01)<br /> <br /> ===Four Basic Skills in Crosstalk===<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194)作者？--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation 不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). By learning all kinds of sounds to gain the ability to imitate不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:11)<br /> <br /> ===Characteristics of Crosstalk===<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)参考格式(Liu Miqing 2010, 17) --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties 没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> <br /> “Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)<br /> <br /> Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)<br /> <br /> ===Famous Artists of CrossTalk===<br /> <br /> In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )<br /> <br /> ===Terms and Expressions===<br /> <br /> speaking, imitating, teasing and singing 说学逗唱<br /> <br /> Taiping lyrics 太平歌词<br /> <br /> Baofu 包袱<br /> <br /> Drama Talks 《戏剧杂谈》<br /> <br /> Drunkenness 《醉酒》<br /> <br /> Selling Tickets 《卖挂票》<br /> <br /> ===Questions===<br /> <br /> 1.When did crosstalk form its format?<br /> <br /> 2.What is Taiping lyrics?<br /> <br /> 3.Who was regarded as the “ancestor”of crosstalk art ?<br /> <br /> 4.What are the four basic skills of crosstalk?<br /> <br /> ===Answers===<br /> <br /> 1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.<br /> <br /> 2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.<br /> <br /> 3.Zhu Shaowen.<br /> <br /> 4.They are speaking, imitating, teasing and singing.<br /> <br /> ===References===<br /> <br /> 1.Hou Baolin,Xue Baokun,侯宝林,薛宝坤.(1982)，《相声溯源》，People's Education Press<br /> <br /> 2.https://cul.sohu.com/20090619/n264630449.shtml<br /> <br /> 3.https://baike.so.com/doc/1925383-2037001.html<br /> <br /> 4.https://baijiahao.baidu.com/s?id=1590742532351773378<br /> <br /> 注意参考文献格式：<br /> Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO - Liu Yi 刘艺 202070080640 MTI===<br /> <br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)<br /> <br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position. Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> <br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)<br /> <br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 07:36, 21 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==<br /> <br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> <br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. <br /> <br /> At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. <br /> <br /> Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. <br /> <br /> He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. <br /> <br /> Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. <br /> <br /> Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.<br /> <br /> His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.<br /> <br /> 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”<br /> <br /> History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. <br /> <br /> It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> <br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> <br /> 英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)<br /> <br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> 参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 MTI 英语笔译==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> [[File:Iconic Building of Mogao Grottoes.jpg|150px|thumb|left|Iconic Building of Mogao Grottoes]] <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170) <br /> <br /> Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)<br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178) <br /> [[File:Taoist Wang Yuanlu.jpg|100px|thumb|right|Taoist Wang Yuanlu]]<br /> By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) <br /> <br /> During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ===Art===<br /> [[File:A Chaitya with a Central Pillar.jpg|150px|thumb|right|A Chaitya with a Central Pillar]]<br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ===[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|150px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]===<br /> [[File:Cave 251 in Northern Wei.jpg|150px|thumb|right|Cave 251 in Northern Wei]]<br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) <br /> <br /> The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)<br /> [[File:Cave 68 in Tang Dynasty.jpg|150px|thumb|right|Cave 68 in Tang Dynasty]]<br /> In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) <br /> <br /> In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)<br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)<br /> <br /> The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:44, 21 December 2020 (UTC)<br /> <br /> ===[[File:Cave 3 in Yuan Dynasty.jpg|100px|thumb|left|Cave 3 in Yuan Dynasty]]===<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong ofTang Dynasty 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.<br /> <br /> MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> Duan Wenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-Level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==<br /> <br /> ===Four State-Level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today. <br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.(Xu Ling,2019)<br /> <br /> ====Simuwu Ding====<br /> <br /> [[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]] <br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).<br /> <br /> Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015). <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (1700 BC-256 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015). <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> [[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]] <br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020). <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016). <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> [[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]] <br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> [[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]] <br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu &amp; Zhao Jing, 2019).<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu &amp; Zhao Jing, 2019). <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).<br /> <br /> ===Terms and Expressions===<br /> <br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> Anna 安娜.(2015).中国人的鼎文化[The Ding Culture of the Chinese]. 科学大观园(15),72-73.<br /> <br /> Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟[The Chime Bells of Marquis Yi ]. 中华文化论坛(11),2.<br /> <br /> Li Xiaohu &amp; Zhao Jing 李小虎 &amp; 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读[The Artistic Effect of the Bronze Galloping Horse]. 艺术教育(09),170-171.<br /> <br /> Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣[On the Jade Suit with Gold Thread in Han Tombs in Mancheng] .文物鉴定与鉴赏 (03):38-39.<br /> <br /> Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[Modern Chinese Dictionary (the 7th edition)]. 北京:商务印书馆.<br /> <br /> Wang Jing 王静.(2008).汉代玉衣研究[A Study of Jade Clothes in Han Dynasty].(硕士学位论文,河北师范大学).<br /> <br /> Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi ].文史知识 (11):1-2.<br /> <br /> Xu Ling 徐玲.(2019).博物馆与近现代中国文物保护[Museums and the Protection of Cultural Relics in Modern China]. 中国博物馆(01),57-61. <br /> <br /> Zhou Yi 周仪.(2016).“八音合鸣 乐舞齐容”——大型乐舞作品《编钟乐舞》述评[The Comment on Bianzhong Yuewu]. 戏剧之家(19),66-67+79.<br /> <br /> == Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 MTI英语笔译 ==<br /> <br /> ====I.Introduction==== <br /> <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> <br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> <br /> ====[[File:A Panorama view of the Forbidden City.jpg|300px|thumb|left|A Panorama view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> <br /> The common English name &quot;Forbidden City&quot; is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. (Li Xieping1997, (04)29-31)<br /> <br /> “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. (Li Xieping1997, (04)29-31)<br /> <br /> Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)<br /> <br /> In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) <br /> <br /> In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. (Yu Zhuoyun1984,30)<br /> <br /> In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin &amp; Qu Wanlin 2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> <br /> Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)<br /> <br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes<br /> Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(Xie Li 2005,(03)100-102)<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22)<br /> <br /> The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. (Website:The Collection of the Palace Museum )<br /> <br /> Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 09:48, 21 December 2020 (UTC)<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602 MTI 英语笔译==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.(Zhou Dandi,Yue Shufa 2012,12) <br /> <br /> ====Six Procedures====<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.(Gao Xiaoqian 2017,235)<br /> <br /> Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts.(Gao Xiaoqian 2017,235) <br /> <br /> Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment.(Gao Xiaoqian 2017,235) <br /> <br /> Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage.(Gao Xiaoqian 2017,235) <br /> <br /> What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes.(Gao Xiaoqian 2017,235) <br /> <br /> Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family.(Gao Xiaoqian 2017,235) <br /> <br /> Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ====Customs====<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017,235)<br /> <br /> After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017,235)<br /> <br /> The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ====Development====<br /> <br /> As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi,Yue Shufa 2012,15)<br /> <br /> Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics.(Zhou Dandi,Yue Shufa 2012,15)--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:54, 20 December 2020 (UTC)Mo Ling<br /> <br /> ====References====<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ====Terms and Expressions====<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ====Questions====<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ====Answers====<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603 MTI英语笔译==<br /> &lt;center&gt; Ouyang Ling 欧阳玲 &lt;/center&gt;<br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac has been engraved in every Chinese people. <br /> <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented without sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most time-honored one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). <br /> <br /> Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). <br /> <br /> There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some researches on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign can not only reveal one’s age, but also represent his or her personality, career prospects and way of life according to Chinese superstition(The Editorial Board, 2010: 40). <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodiac sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creature, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804)<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight against each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). <br /> <br /> And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac(The Editorial Board, 2010: 34-35).<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme has developed a profound connotation and implications through generations. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> --[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:13, 20 December 2020 (UTC)<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641 英语口译==<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the &quot;Going up to the mountain of swords and going down to the sea of ​​fire&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies. <br /> <br /> Introduction<br /> <br /> Chinese Clothing has a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages.(Mei Hua-2010-page-1)<br /> <br /> 1-Chinese traditional clothing<br /> <br /> Traditional clothing can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> 1:1.Traditional Han Chinese Clothing (Han Fu)<br /> <br /> It refers to the attire worn by the Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> 1:2.Chinese Suit(Tang Zhuang)<br /> <br /> It is a combination of the Manchu male jacket of the Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> 1:3.Cheongsam(Qi Pao)<br /> <br /> Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> 1:4.Chinese Tunic Suit(Zhongshan Zhuang)<br /> <br /> Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> 2.Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> 2:1.The Aesthetic Performance of Design<br /> <br /> Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that&quot;the upper part should be short, the below part should be long&quot;; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the &quot;long upper part,short below part&quot;ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)<br /> <br /> 2:2.The Aesthetic Performance of colors<br /> <br /> Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusk, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color.(Jiangsu, 2016,page-6)<br /> <br /> In Chinese traditional clothing colors red has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)<br /> In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi<br /> <br /> ==Conclusion==<br /> Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.<br /> <br /> <br /> 2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> Culture=Topic Chinese Traditional Dance=Pingki Tanchangya, Student No:201921080004<br /> ,Major: Comparative Literature and cross culture studies.<br /> <br /> 1. Introduction<br /> <br /> There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. &quot; Lianxiang &quot; is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)<br /> <br /> <br /> 2. Characteristics of the Dance<br /> <br /> Characteristics of the movements <br /> <br /> There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)<br /> <br /> 3. The Dragon Dance<br /> <br /> The Dragon dance is a form of traditional dance and performance in Chinese culture. Like the lion dance it is most often seen in festive celebrations. Many Chinese people often use the term &quot;Descendants of the Dragon&quot; as a sign of ethnic identity, as part of a trend started in the 1970s. Chinese people who taught them agriculture, law and medicine, the foundations of civilization.<br /> Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom. The appearance of a dragon is both frightening and bold.The Dragon Dance originated during the Han Dynasty and was started by the Chinese who had shown great belief and respect towards the dragon. It is believed to have begun as part of the farming and harvest culture, also with origins as a method of healing and preventing sickness. It was also a popular event during the Song Dynasty and become a folk activity and like the lion dance, was most often seen in festive celebrations.<br /> As the dragon gives people a feeling of great respect, it is often called the Sacred Dragon. The emperors of ancient China considered themselves as the dragon. The Dragon is also the emblem of Imperial Authority. It symbolizes supernatural power, goodness, fertility, vigilance and dignity.<br /> <br /> 4. The lion Dance<br /> <br /> The lion dance is a traditional Chinese dance performed on big occasions, such as the Spring Festival (Chinese New Year) for good luck, as it is believed that the lion is an auspicious animal.<br /> In Chinese culture, the lion symbolizes power, wisdom, and superiority. People perform lion dances at Chinese festivals or big occasions to bring good fortune and chase away evil spirits.The lion dance is one of the most important traditions during Chinese New Year. It is performed to bring prosperity and good luck for the upcoming year. The lion dance is also a way to create a festive atmosphere and bring happiness. Performed in a lion costume, accompanied by the music of beating drums, clashing cymbals, and resounding gongs, lion dances imitate a lion's various movements or demonstrate martial arts, depending on the style. Though lion dances all use similar costumes, during its long development, the lion dance has divided into two styles: southern and northern.<br /> <br /> 4.1 The Southern Lion Dance<br /> <br /> The southern lion dance originated in Guangdong, and it is the style popular in Hong Kong, Macau, and the hometowns of overseas Chinese. The southern lion dance is a performance based on the study of a lion's behavior, with an emphasis on actions like scratching and shaking of the body. Performances are vivid and entertaining, even comical. There are also skillful performances, such as playing with a ball, which includes swallowing it.<br /> <br /> 4.2 The Northern Lion Dance<br /> <br /> The northern lion dance has close relations to kungfu Chinese martial arts. A young lion is performed by a single person and an adult lion is performed by a duo. Costumes are more robust, and less decorative, to allow for more movement. In the adult lion dance, the performer in front holding the lion's head is often lifted by the other to make the lion stand up. Northern lion dances are more gymnastic, involving rolling, wrestling, leaping, jumping, climbing, or kowtowing. The best places to see northern Chinese lion dances are China's martial arts theaters, like the Red Theater in Beijing, or even at the Shaolin Temple.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 14:19, 20 December 2020 (UTC)<br /> <br />  5. Conclusion<br /> <br /> &quot;Lianxiang” is a remark traditional dance that popularized in lots of regions and nations. It’s a folk dance that combines entertainment and body-building. Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom.The lion dance is an excellent example of Chinese folk culture, which has spread across the world with Chinese immigration. Overseas Chinese in Europe, America, etc. have established many lion dance clubs, performing on Chinese festivals or big occasions, particularly Chinese New Year.<br /> <br /> <br /> ===Terms and Expressions===<br /> 1.Han Dynasty 汉朝。<br /> <br /> 2.Traditional dance history 传统舞蹈史。<br /> <br /> 3.The lion Dance 舞狮。<br /> <br /> 4.The Dragon Dance 龙舞。<br /> <br /> 5.Lianxing 联兴。<br /> <br /> 6.Chinese Dance 中国舞。<br /> <br /> 7.Festivals 节庆。<br /> <br /> <br /> <br /> 6. Questions:<br /> <br /> 1. What is lianxing?<br /> 2. What is the Dragon Dance? Have you seen it before? And Where?<br /> 3. The dragon Dance originated from where?<br /> 4. what Lion Dances Symbolized?<br /> 5. How many Chinese Traditional Dance names you know?<br /> <br /> Answers:<br /> <br /> 1.&quot;Lianxiang&quot; is generally a traditional dance that is quite popular in lots of regions.<br /> 2. The Dragon dance is a form of traditional dance and performance in Chinese culture. Yes, I have seen it before in China.<br /> 3. The Dragon Dance originated from the Han Dynasty. It was started by the Chinese people those had shown great belief and respect towards the dragon.<br /> 4 The lion dance performed at Chinese festivals and<br />  “Lion” symbolizes power, wisdom, and superiority.<br /> 5.<br /> 1.The folk dance.<br /> 2 The Duhuang Dance.<br /> 3.The Lion Dance.<br /> 4.The Dragon Dance.<br /> <br /> Reference: <br /> <br /> https://en.wikipedia.org/wiki/History_of_Chinese_dance.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-JFYS201701031.htm.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-TIRE200403012.htm.<br /> <br /> https://www.atlantis-press.com/proceedings/etmhs-16/25849367.<br /> <br /> Origin of lianxiang.http://www.google.cn.<br /> <br /> Classification of Lian Xiang. http://www.google.cn.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 15:27, 20 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604 ==<br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604 英语笔译 ==--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.（后面好像缺了文献的引用，参考文献中的没有在正文体现）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12) <br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting it. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please?<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. (这句话的因果关系不知道是什么，改错了就删掉我的就好）The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage. where is source coming?<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council included &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared it as the world intangible cultural heritage.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)(sorry,又忘记复制粘贴，直接改动了）<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. <br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels is basically specific. <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> <br /> [[File:zun.left.jpg|300px|thumb|left]]<br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty and Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than it in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking games is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康<br /> <br /> 2.Chinese Dionysus 中国酒神<br /> <br /> 3.husked sorghum rice 秫米饭<br /> <br /> 4.Baishui 白水县（陕西渭南市辖县）<br /> <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县）<br /> <br /> 6.fermented wine 发酵酒<br /> <br /> 7.Distilled liquor 蒸馏酒<br /> <br /> 8.Yellow rice wine 黄酒<br /> <br /> 9.Shaoxing Wine 绍兴酒 <br /> <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> <br /> 11.Mellow Wine 醇香酒 <br /> <br /> 12.Dongwu Rice Wine 东吴老酒<br /> <br /> 13.Liquor and Spirits 白酒 <br /> <br /> 14.Kweichow Moutai 贵州茅台<br /> <br /> 15.sauce-flavor type 酱香型 <br /> <br /> 16.light flavor type 清香型 <br /> <br /> 17.strong flavor type 浓香型 <br /> <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> <br /> 19.the Peiligang culture period裴李岗文化时期 <br /> <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> <br /> 21.Zun 樽 <br /> <br /> 22.injection vessel and bowl 注子和注碗<br /> <br /> 23.drinking order 行酒令<br /> <br /> 23.drinking games 行酒令--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====Questions==== （问题好像还要再加一两个 忘记标准了）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> 2.What is the most prominent characteristic of Shaoxing Wine?--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> == China Railway High-Speed ​​(CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> Introduction <br /> <br /> High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot;[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]<br /> <br /> Definition and terminology <br /> <br /> High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高 铁; Gāotiě; &quot;High-speed rail&quot;) are commonly used trains E In class D trains (动 车; Dòngchē; &quot;Electrical multiple unit&quot;) are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Influence on airlines<br /> <br /> The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a<br /> Technologies <br /> Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐 号; Traditional Chinese: 和 諧 號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]<br /> <br /> 4 + 4 HSR network <br /> <br /> The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]<br /> <br /> Advantages <br /> <br /> HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Wenzhou accident <br /> <br /> On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]<br /> <br /> Terms and expressions<br /> <br /> 高 铁 - High-speed rail<br /> 动 车 - Electrical multiple unit<br /> 和 諧 號 – Harmony<br /> 復興號 - Rejuvenation<br /> <br /> Questions <br /> <br /> 1. What does the World Bank research say?<br /> 2. What forced China's domestic airlines to cut airfares and cancel regional flights?<br /> 3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?<br /> 4. What caused the accident?<br /> 5. What are the benefits of HSR?<br /> <br /> Answers<br /> <br /> 1. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot; <br /> 2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.<br /> 3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. <br /> 4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.<br /> 5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.<br /> <br /> References <br /> <br /> http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf<br /> https://ru.qaz.wiki/wiki/China_Railway_High-speed<br /> https://en.m.wikipedia.org/wiki/Wayback_Machine <br /> http://www.railjournal.com/A/xfeature2.html<br /> https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects and there are great differences between the dialects because of the speech impediment. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, called Putonghua and also known as Mandarin in Western countries. Government also has implemnted a strategy to promote Putonghua and to facilitate it learning with Pinyin . Cheng Aimin (2019,<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusion.== <br /> Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> <br /> Lingo: 林戈<br /> <br /> Lingo: 行话，语言<br /> <br /> Putonghua: 普通话<br /> <br /> Await student:等待学生<br /> <br /> Pinyin: 等待学生<br /> <br /> Pinyin: 拼音<br /> <br /> Lofty: 崇高<br /> <br /> Vernacular: 白话<br /> <br /> Swine: 猪<br /> <br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=History_of_Translation_Studies_10&diff=116687 2020-12-20T13:42:18Z

<p>Sagara Seydou 3: /* Content */</p> <hr /> <div>这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> *Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> *Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]<br /> *Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].<br /> ='''Functional Equivalence'''=<br /> <br /> <br /> == On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing 英语笔译 202070080581==<br /> <br /> ===Abstract===<br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.<br /> <br /> ===key words===<br /> <br /> functional equivalence, formal equivalence, translation<br /> <br /> ===摘要===<br /> 翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。<br /> <br /> ===关键字===<br /> 功能对等，形式对等，翻译<br /> <br /> ===Introduction===<br /> <br /> As a specific form of cultural activity, translation is characterized by the interactive conversion of original language and target language, but this does not mean that translation is limited to a certain language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, have not been covered by linguistic theory. <br /> <br /> Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. <br /> <br /> During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also made a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.<br /> <br /> ===Functional Equivalence===<br /> In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)<br /> <br /> Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, one needs to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. <br /> <br /> The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. <br /> <br /> To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures.Similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language.<br /> <br /> In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. <br /> <br /> Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.<br /> <br /> ===Formal equivalence===<br /> <br /> Formal equivalence, though seeking equivalence as well, focuses mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） <br /> <br /> Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.<br /> <br /> From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis.That is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, in which verbs are more active. English has a systematic grammar but Chinese seems freely arranged. <br /> <br /> Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.<br /> <br /> ===Relationship between functional equivalence and formal equivalence===<br /> In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.<br /> <br /> For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator is not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which is direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.<br /> <br /> Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, translators are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.<br /> <br /> Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word, which makes it even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.<br /> <br /> Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence in form as much as possible. But actually of the two, priority is given to equivalence in content.<br /> <br /> ===Application of functional equivalence and functional equivalence in translation===<br /> <br /> Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.<br /> <br /> ====Lexical equivalence====<br /> <br /> Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with are going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, translators have to choose words or phrases to express it in a different way based on the context. For example,“Take care. Hope to see you soon.” is polite and emotional way to express our feelin .<br /> <br /> Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , translators have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. <br /> <br /> It is very common that a word in English may bear several different meanings so in this case, translators have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to translator's mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. <br /> “When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”<br /> In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, translators can find that “club” here may refers a sort of hitting. Consequently, translators have to consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.<br /> <br /> ====Syntax equivalence====<br /> <br /> Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore,proper translation skills are needed to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes translators can translate the sentence from word by word or phrase by phrase but in most cases they will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: <br /> “Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”<br /> Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。<br /> <br /> It is obvious that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.<br /> When translating, translators can choose literal translation so as to achieve the formal equivalence or free translation based on functional equivalence. In daily life, Chinese people often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus the sentence will be translated into “Hi, how are you? What a nice day, isn’t it?”. <br /> There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:<br /> “You’re not a student,are you?”<br /> “Yes, I am.” <br /> Here, in this dialogue, it can be seen that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.<br /> <br /> ====Texual equivalence====<br /> <br /> Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, translators need to pay more heed to textual equivalence. A sentence can be translated in different ways but trasnslators have to choose one based on the context. <br /> <br /> “有了什么？”他一时蒙住了。<br /> “这个！”她指了指肚子。“你打主意吧！”<br /> Translation: “Xiangzi,” she came closer. “I am in trouble!”<br /> “What trouble?” He was startled.<br /> “This!” She pointed her belly. “What was you going to do about it?”<br /> According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.<br /> <br /> In addition, translators need to take the situation or background in which the texts took place into account and endeavor to get the inner connotation it bears. <br /> Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. <br /> Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, translators can figure out exactly his characteristics and reasonably infer that it actually means shy.<br /> <br /> The last element we should never ignore is cultural context given that there are great cultural differences between English and Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.<br /> Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.<br /> We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.<br /> <br /> ====Stylistic equivalence====<br /> <br /> Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. Translators will find different types of texts in the process of translation and must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.<br /> <br /> Example: 清明<br /> 杜牧<br /> 清明时节雨纷纷，路上行人欲断魂。<br /> 借问酒家何处有? 牧童遥指杏花村。<br /> Translation by Wu Juntao:<br /> The Pure Brightness Day<br /> By Du Mu<br /> It drizzles thick and fast on the Pure Brightness Day,<br /> I travel with my heart lost in dismay.<br /> “Is there a public house somewhere, cowboy?”<br /> He points at Apricot Village faraway.<br /> <br /> In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation.<br /> <br /> Translation by Xu Yuanchong:<br /> The Mourning Day<br /> By Du Mu<br /> A drizzling rain falls like tear on the Mourning Day;<br /> The mourner’s heart is going to break on his way.<br /> Where can a wineshop be found to drown his sad hours?<br /> A cowherd points to a cot ’mid apricot flowers. <br /> <br /> In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.<br /> <br /> ===Conclusion===<br /> <br /> Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation. <br /> <br /> Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. <br /> <br /> According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, can the translation be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)<br /> <br /> ===References===<br /> <br /> Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.<br /> <br /> Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.<br /> <br /> Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．<br /> <br /> Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.<br /> <br /> Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.<br /> <br /> Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &quot;Faithfulness, Expressiveness and Elegance&quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.<br /> <br /> Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.<br /> <br /> Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.<br /> <br /> Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.<br /> <br /> Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.<br /> <br /> 尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．<br /> <br /> Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).<br /> <br /> UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．<br /> <br /> == My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==<br /> <br /> == Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==<br /> &lt;center&gt;肖茜 Xiao Xi No.202020080654 法语语言文学&lt;/center&gt;<br /> ===Abstract===<br /> Hao Jingfang's science fiction &quot;Folding Beijing&quot; won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu's rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of the theory of Nida's functional equivalence to &quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&quot;. The theory of Nida's functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu's application of functional equivalence in translation, and proves the value of functional equivalence theory in translation of science fiction.<br /> <br /> The success of Hao Jingfang's science fiction novel &quot;Folding Beijing&quot;, which won the Hugo Award for Best Novelette in 2016, could not have been achieved without the rigorous translation work of Ken Liu. The translation of this novel takes the response of the readers of the translated text as the starting point, preserving the meaning and style of the novel while effectively conveying Chinese culture, which is in line with the requirement of functional equivalence theory that &quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&quot;. Nida's functional equivalence theory, one of the first translation theories introduced into China, has had a profound influence on the translation studies of various literary genres in China. This paper examines the English translation of &quot;Folding Beijing&quot;, analyzes Ken Liu's use of Eugene Nida's functional equivalence theory in his translation, and shows the value of functional equivalence theory for the translation of science fiction.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:05, 19 December 2020 (UTC)<br /> <br /> ===Key words===<br /> Functional Equivalence; Folding Beijing; meaning; style; culture<br /> <br /> ===题目===<br /> 刘宇昆翻译中的功能对等-以《北京折叠》为例<br /> ===摘要===<br /> 郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。<br /> <br /> ===关键词===<br /> 功能对等；《北京折叠》；意义；风格；文化<br /> <br /> ===Introduction===<br /> In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.<br /> <br /> In the science fiction novel &quot;Folding Beijing&quot;, the future Beijing is overpopulated. To solve this crisis, it is transformed into a hierarchical Folding City. The Folding City is divided into three spaces. They share 48 hours. The first space is occupied by the upper class of society, who have a 24-hour time cycle at their disposal; the second space is occupied by the middle class, who can spend 16 hours; and the third space is occupied by the lower class, who have only eight hours of night. Lao Dao belongs to the third space. He wants to send his daughter to a good school, and in order to earn money, he ventures into the second and third spaces to deliver letters to others. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:12, 19 December 2020 (UTC)<br /> <br /> This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers' understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information.<br /> <br /> This science fiction novel has many Chinese characteristics and many Chinese native words. The cultural differences between China and the West due to regional factors and customs are a major challenge for translation. The translator must not only consider the reader's understanding and feelings, but also ensure that the local color in the work is not removed. The theory of functional equivalence suggests that translation should not be confined to form, and the translator can make necessary adjustments to the form and structure of the original text in order to achieve equivalence of content and information.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:12, 19 December 2020 (UTC)<br /> <br /> Nida's functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence are achieved.（Zhou Xingyang,2018:11）<br /> <br /> Nida's functional equivalence theory has had a profound impact on China and has brought translators new and effective methods of translation guidance. We can see that Ken Liu is also trying to achieve balance and harmony between the translation and the original text when he translates science fiction novels. This paper analyzes the English translation of &quot;Folding Beijing&quot; from the perspective of functional equivalence theory and explores how translators achieve the closest equivalence to the original text and whether the ideal equivalence is achieved from the perspectives of meaning, genre and culture.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:12, 19 December 2020 (UTC)<br /> <br /> ===1. Eugene A. Nida and His Theory of Functional Equivalence===<br /> <br /> Eugene A. Nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work Toward a Science of Translating. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers' response, not just the equivalence of content and form. （Zhao Dandan,2011:1）<br /> <br /> Eugene A. Nida, an American scholar and translator, explained dynamic equivalence translation in his influential book,Toward a Science of Translating. The aim of dynamic equivalence is the closest and most natural equivalence between the target text and the source text, focusing on the equivalence of the reader's response, not just the equivalence of content and form.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)<br /> <br /> In his book The Theory and Practice of Translation, Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida's dynamic equivalence theory requires that the translation readers' response to the translation should be consistent with that of the original readers. （Nida,2004:24） <br /> <br /> In &quot;The Theory and Practice of Translation&quot;, Nida defines dynamic equivalence as follows. Dynamic equivalence is defined as the degree to which the receptors of information in the receptor language react to the information in essentially the same way as the receptors in the source language react to the information (Nida, 2004: 24) Nida's dynamic equivalence theory requires that the translated reader's reaction to the translation should be the same as the original reader's reaction.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)<br /> <br /> Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &quot;The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers did&quot; (Nida 1993:118). <br /> <br /> Because dynamic equivalence was controversial in some respects, Nida replaced it with a more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment required to produce a satisfactory equivalent translation. Since a functionally equivalent translation is defined as the closest and most natural equivalent translation of the source language message, the translator's achievement of functional equivalence follows three principles.In his book Language, Culture and Translation, Nida divides functional equivalence into two levels of categories:the minimal level and the maximum level.The minimal level,as a realistic definition of functional equivalence, is defined as &quot;The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers did&quot;.(Nida 1993:118)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)<br /> <br /> In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the receptor-language reader's response, (3) the receptor language and culture as a whole. Nida defined the reader's response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader's response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.（Zhao Dandan,2011:1）<br /> <br /> In order to achieve functional equivalence, the translator must make the translation conform to (1) the context of the source language message, (2) the response of the reader of the recipient language, and (3) the recipient language and culture as a whole. Nida defines the reader's response as the essence of his functional equivalence theory,namely from the form and content of the message to the reader's response. It differs from traditional translation theory, which emphasizes verbal comparison between the original and the target text. Functional equivalence involves the reader's response. If the target language readers' understanding and appreciation of the target language is basically the same as that of the readers of the original text, it can be regarded as functional equivalence of the target language. In other words, the functional equivalence of Nida emphasizes the reader's reaction to translation.（Zhao Dandan,2011:1）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)<br /> <br /> ===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===<br /> <br /> ====2.1 Functional Equivalence from Aspect of Meaning====<br /> <br /> Nida and Taber stated that &quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&quot; Meaning in this chapter will from three levels to discuss: words, sentences and passages, in other words, these three levels is a detailed analysis of the lexicon, syntax and discourse. According to the functional equivalence theory, translation should not only achieve literal equivalence, but also discover the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in translation of Folding Beijing from lexical, syntactic and discourse perspectives.(Nida,2004:12)<br /> <br /> Nida and Taber point out that &quot;translation consists in reproducing the closest natural equivalence of source language information in the receptor language, above all in terms of meaning.&quot; Meaning will be discussed in this chapter at three levels: word, sentence, and segment, in other words, these are the three levels of detailed analysis of lexicon, syntax, and discourse. According to the theory of functional equivalence, translation is not only about word-for-word equivalence, but also about discovering the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in the translation of Folding Beijing from the perspectives of lexis, syntax and discourse (Nida, 2004:12).--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)<br /> <br /> =====2.1.1 Lexical level=====<br /> <br /> In literary translation, how to correctly interpret the meaning of a word or phrase is always a difficult problem. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is most appropriate. In the English translation of Folding Beijing, there are many examples to illustrate how the translation achieves functional equivalence with the source text in the lexical level as follows:（Din Juan,2011:22）<br /> <br /> In literary translation, it is always a challenge to correctly interpret the meaning of a word or phrase. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, and they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is the most appropriate. In the English translation of Beijing Folding, there are many examples of how the translation can achieve functional equivalence with the original at the lexical level, as follows: (Ding Juan, 2011:22)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)<br /> <br /> Example 1:<br /> “食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）<br /> <br /> &quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&quot; (Ken Liu 2015)<br /> <br /> Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &quot;the plastic tables at the food hawker stalls&quot; for readers to understand. &quot;Sour and spicy powder&quot; is originally a kind of Chinese noodles. The author uses &quot;hot and sour rice noodles&quot; to describe the taste of sour and spicy and the raw material of noodles is rice.<br /> <br /> Example 2:<br /> “这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）<br /> <br /> &quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&quot; (Ken Liu 2015)<br /> <br /> The translator uses &quot;a toothpick dangling between his lips&quot; to describe the action of picking teeth，it's more detailed and vivid. “懒散不修边幅” is translated into &quot;lazy and slovenly&quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &quot;the appearance of being perpetually grumpy&quot;, in this way, the translation better expresses the author's intention to express the meaning of looking bad-tempered. <br /> <br /> The translator uses &quot;a toothpick dangling between his lips&quot; to describe the action of picking teeth，it's more detailed and vivid. “懒散不修边幅” is translated into &quot;lazy and slovenly&quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &quot;the appearance of being perpetually grumpy&quot;, In this way, the translation better expresses the author's intention and conveys what appears to be a bad temper. --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)<br /> <br /> Example 3:<br /> “霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）<br /> <br /> &quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&quot; (Ken Liu 2015)<br /> <br /> The author did not translate directly “闪烁的小灯” into &quot;the little flashing lights &quot;, but &quot;Tiny flashing LEDs&quot;. This is also because of the translator's own understanding of the text, he wants the readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &quot;lapi&quot;, which is to show the original meaning.<br /> <br /> The author did not literally translate “闪烁的小灯” into &quot;the little flashing lights &quot;, but &quot;Tiny flashing LEDs&quot;. This is owing to the translator's own understanding of the text, he hopes readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &quot;lapi&quot;, which is to convey the original meaning.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)<br /> =====2.1.2 Syntactic Level=====<br /> <br /> Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese. （Din Juan,2011:24）<br /> <br /> Syntax, as a rule, refers to the study of how to construct sentences correctly with the words in a language. In literary translation, the translator should make the syntax easy to be understood by the readers. Translators should take full account of the syntactic differences between English and Chinese.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)<br /> <br /> The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, conjunctions and relationship between words in English use frequency is very high. Secondly, English speakers put attention on object consciousness and used to the order from a small object to a large one, from specific to general; In Chinese texts, there is usually a temporal, spatial or causal sequence of time sequence. Finally, English language usually emphasizes important information at the beginning of a sentence, while the Chinese language tends to process information from the obsolete to the fresh for the purpose of impressing people.（Din Juan,2011:24）<br /> <br /> The differences between English and Chinese grammar are mainly reflected in three aspects. First, the use of conjunctions and relational words in English is very frequent. Secondly, English speakers focus on object consciousness and are accustomed to the order from small to large objects and from specific to general; in Chinese texts, there is usually a chronological order of time, space or cause and effect. Finally, English usually emphasizes important information at the beginning of a sentence, while Chinese tends to process information from the stale to the fresh in order to impress (Ding Juan, 2011: 24).--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)<br /> <br /> In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a proper form. The following are some examples to show that how English translation oh Folding Beijing achieves functional equivalence to the original text in syntactic level: （Din Juan,2011:24）<br /> <br /> In order to achieve functional equivalence with the original, we must not only translate the meaning of the words, but also translate the syntactic structure into the appropriate form. The following are examples of how the English translation of Folding Beijing achieves functional equivalence with the original at the syntactic level:（Din Juan,2011:24）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)<br /> <br /> Example 1:<br /> &quot; 现在政府太混沌了，做事太慢，僵化，体系也改不动。'他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。'他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’&quot; （Jingfang Hao 2016:15）<br /> <br /> &quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&quot; (Ken Liu 2015)<br /> <br /> We can see that in the translation of this paragraph, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the readers have supplemented and translated this sentence into &quot;I'll also work to expand the pool of candidates for government service and promotion&quot;, The translator perfectly explains what &quot;放开&quot; means.<br /> <br /> We can see that in the translation of this passage, the translator clearly adjusted the word order, pushing what the same person said before the pause to the next sentence to fit the logic of the English reader.&quot; Selection should also be liberalized&quot; ,the literal translation of this sentence must be incomprehensible to the reader, so the reader adds to this sentence and translates it as &quot;I'll also work to expand the pool of candidates for government service and promotion&quot;, the translator perfectly explains the meaning of &quot;放开&quot;.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)<br /> <br /> Example 2:<br /> “昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）<br /> <br /> “Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) <br /> <br /> In this passage, the text refers to “过去” twice with emphasis. In order to achieve the same emphasis in the English translation, the author chose to adjust the word order, placing &quot;In the dim lamplight&quot; between the two sentences, rather than using a subordinate clause like &quot;…childhood that…&quot;.<br /> <br /> In this passage, the text emphasizes &quot;the past&quot; twice. To achieve the same emphasis in the English translation, the author chose to adjust the word order by placing &quot;In the dim lamplight&quot; between the two sentences instead of using subordinate clause like&quot;... childhood that...&quot;.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)<br /> <br /> Example 3:<br /> “再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）<br /> <br /> &quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&quot; (Ken Liu 2015)<br /> <br /> In this passage, we can see clearly that English has many more conjunctions than Chinese, like &quot;as though&quot;, &quot;from where&quot; and &quot;that&quot;, this is because of the difference in syntax between the two languages.<br /> <br /> In this passage, we can see clearly that English has many more conjunctions than Chinese, such as &quot;as if&quot;, &quot;from where&quot;, &quot;that&quot;, etc. This is because the syntax of the two languages is different.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)<br /> <br /> =====2.1.3 Discourse level=====<br /> <br /> Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &quot;rewrite&quot; to make the translated text acceptable to readers. In literary translation, the translator should pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in the level of discourse. The following part selects a dialogue and its English translation in Folding Beijing as an example of literary translation to achieve functional equivalence in discourse level.(Din Juan,2011:27）<br /> <br /> Nida argues that readers may have difficulty accepting an approximate formal translation due to the intricacies of the discourse structure and the preconceived knowledge of the original content. Therefore, it is necessary to choose a &quot;rewriting&quot; approach to make the translation acceptable to the reader. In literary translation, the translator must pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be comparable to the original text in terms of discourse level. A dialogue from Folding Beijing and its English translation is selected below as an example of literary translation achieving functional equivalence at the discourse level:(Ding Juan,2011:27)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:55, 19 December 2020 (UTC)<br /> <br /> “所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”<br /> <br /> 老刀没有动筷子。他很饿，可是他觉得这时不能吃。<br /> <br /> “可是这等于我也得撒谎。”<br /> <br /> 依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)<br /> <br /> &quot;And so&quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&quot; <br /> <br /> Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.<br /> <br /> &quot;Then I'd be lying, too,&quot; Lao Dao said.<br /> <br /> Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &quot;Please accept this token of my appreciation.&quot; (Ken Liu 2015)<br /> <br /> The conversational habits in Chinese are different from those in English, so some adjustments are often made when translating. The form of the dialogue is not completely translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”translated into &quot;spooned a serving of the new hot dish&quot;, the translator changed the action to &quot;spoon&quot;, which is more suitable for Yi Yan's identity image, it is more suitable as a girl in the first space to spoon the vegetables to Lao Dao. “推给老刀”translated into &quot;She pushed them across the table toward Lao Dao&quot;, this sentence adds some action to make it more pictorial.<br /> <br /> Conversational conventions in Chinese are different from those in English, so some adjustments are often made in translation. The form of the dialogue is not exactly translated from Chinese, but the understanding of the text is the same for the readers. For example, &quot;夹了新上来的热菜&quot; is translated as &quot;spooned a serving of the new hot dish&quot;, and the translator changes the action to &quot;spoon&quot;, which is more in line with Yi Yan's identity image, it is more suitable as the girl in the first space to spoon the dish to the old knife.&quot;推给老刀&quot; is translated as &quot;She pushed them across the table toward Lao Dao&quot;, which adds some actions to make it more vivid.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:55, 19 December 2020 (UTC)<br /> <br /> ====2.2 Functional Equivalence from Aspect of Style====<br /> <br /> Every writer has his own writing style, and no one can imitate it perfectly. That is to say, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows the language characteristics, and the English translation can also see that the translator tries to achieve the functional equivalence on the stylistic level.（Din Juan,2011:30）<br /> <br /> Each writer has his or her own writing style, which no one can imitate perfectly. In other words, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows linguistic characteristics, and the English translation shows the translator's attempt to achieve functional equivalence at the stylistic level.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)<br /> <br /> =====2.2.1 Rhetoric=====<br /> <br /> First of all, rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form and is a counterpart of dialectic. The use of rhetoric can create vivid images, vivid scenes, improve the effect of literature.（Din Juan,2011:30）<br /> <br /> Rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form, the counterpart of dialectic. The use of rhetoric can create vivid images, vibrant scenes, and enhance the effectiveness of literature.（Din Juan,2011:30）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)<br /> <br /> Example 1:<br /> 老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)<br /> <br /> &quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&quot; (Ken Liu 2015)<br /> <br /> In this passage, the original text compares a hungry stomach to an abyss, and the English translation also uses this metaphor to form a rhetorical functional equivalence.<br /> <br /> In this passage, the original text compares a hungry stomach to &quot;深渊&quot;, and the English translation also uses this metaphor to form a rhetorical functional equivalent.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)<br /> <br /> Example 2:<br /> 不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)<br /> &quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&quot; (Ken Liu 2015)<br /> <br /> In this paragraph, it is a metaphor, and the words &quot;西山&quot; and &quot;孤&quot; in the original text are not translated, only translated into &quot;an island in the sea&quot;, this description is enough to show the image of a folded city.<br /> <br /> It is a metaphorical sentence and words like &quot;西山&quot; and &quot;孤&quot; in the original text are not translated. They are translated into &quot;an island in the sea&quot;, this description is enough to show the image of a folded city.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)<br /> <br /> Example 3:<br /> 高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)<br /> <br /> &quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&quot; (Ken Liu 2015)<br /> <br /> It has a personification in this paragraph, &quot;skyscrapers&quot; have &quot;heads, feet, necks and arms&quot;, and &quot;like the humblest servants&quot;, the use of rhetoric enables people to imagine the folding picture of the city through the human image. By comparing the building to a herd of beasts, it shows its size and the sense of fear and oppression it brings.<br /> <br /> This paragraph has a personification that &quot;skyscrapers&quot; have &quot;heads, feet, necks, and arms&quot; and are &quot;like the humblest of servants,&quot; and the use of rhetoric allows people to imagine the folding diagram of the city through the image of a person. By comparing the buildings to a herd of beasts, it shows its scale and the sense of fear and oppression it brings.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)<br /> Example 4:<br /> 直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)<br /> <br /> &quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&quot;(Ken Liu 2015)<br /> <br /> In this sentence, although &quot;怪胎&quot; translate into &quot;monster&quot;, the &quot;生&quot;express also the same meaning, so the translator does not struggle.<br /> <br /> In this sentence, &quot;怪胎&quot; is translated as &quot;monster&quot; and &quot;born&quot; conveys the same meaning, so the translator did not have any trouble.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)<br /> <br /> =====2.2.2 Dialects=====<br /> <br /> Dialect embodies the local characteristics, is the author's own writing style. Sometimes it's a problem in translation. In the following example, we can see how the translator handles this problem.（Din Juan,2011:33）<br /> <br /> The dialect reflects the local characteristics and is the author's own writing style. Sometimes this is a problem in translation. In the following example, we can see how the translator deals with this problem. (Dingjuan, 2011:33)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)<br /> <br /> For example, &quot;伙计&quot; in English &quot;waiter&quot; ,&quot;铺盖卷&quot; in English &quot;bedrolls&quot; ,&quot;闺女&quot;is translated as &quot;real daughter&quot; ,&quot;她们认死理儿&quot; is translated as &quot;they don't know how to be flexible&quot;,&quot;只是这么多年过来，人就木了.&quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.<br /> <br /> In short, whether the use of rhetoric or dialect in literature, can fully reflect the author's writing style. Therefore, in literary translation, the translator should study the differences between the source language and the target language in the ways to express stylistic differences, and find out the best way to make up for these differences. In this way, literary translation can achieve maximum functional equivalence at the stylistic level.<br /> <br /> In conclusion, the use of either rhetoric or dialect in literary works fully reflects the author's writing style. Therefore, in literary translation, translators should study the differences between the source language and the target language in the way of expressing stylistic differences and find out the best way to compensate for these differences. In this way, literary translation can achieve the maximum functional equivalence at the stylistic level.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)<br /> <br /> ====2.3 Functional Equivalence from Aspect of Culture====<br /> <br /> In the process of translation, the cultural difference between the two languages is also an issue that translators should pay attention to. People who come into contact with different cultures have different ways of thinking, values and social customs and so on. Translators need to understand the two cultures and fully express the cultural elements contained in the original text. At this time, translation plays a role in cross-cultural communication. The translator must present the cultural meaning shown or implied in the original text to the readers so that the translation can achieve the cultural equivalence with the original text. In this chapter, we will analyze the English translation of Folding Beijing from the perspective of food culture, folk culture and culture of idioms, so as to explain how it achieves the functional equivalence with the original text.（Zhou Xingyang,2018:47）<br /> <br /> Cultural differences between two languages are also issues that translators should be aware of in the translation process. People who are exposed to different cultures have different ways of thinking, values, social customs, etc. Translators need to understand both cultures and fully express the cultural elements contained in the original text. At this point, translation plays a role in intercultural communication. The translator must present the cultural meaning shown or implied in the original text to the reader so that the translation achieves cultural equivalence with the original text. This chapter will analyze the English translation of Folding Beijing from the perspectives of food culture, folk culture, and idiom culture to show how it achieves functional equivalence with the original text. (Zhou Xingyang,2018:47)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)<br /> =====2.3.1 Food Culture=====<br /> <br /> The city described by Beijing Folding is the political and cultural center of China, and it is a city with profound cultural deposits. There are a lot of contents belonging to traditional Chinese food culture in the novel. This part will analyze how the translator translates these delicacies to achieve functional equivalence.（Din Juan,2011:39）<br /> <br /> The city described in Folding Beijing is the political and cultural center of China, a city with deep cultural accumulation. In the novel, there are many elements belonging to traditional Chinese food culture. This part will analyze how the translator managed to translate these cuisines into a successful counterpart.（Din Juan,2011:39）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)<br /> Example 1:<br /> &quot;…面前摆着一盘炒面或炒粉… &quot;(Jingfang Hao 2016:2)<br /> <br /> &quot;Each kid had a plate of chow mein or chow fun…&quot; (Ken Liu 2015)<br /> <br /> &quot;炒面&quot;is a well-known traditional snack in China. The translator makes it into &quot;chow mein&quot;, rather than &quot;Chinese stir-fried noodles&quot;. In the dictionary, &quot;chow mein&quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also makes it more intuitive for the reader to know what the food is.<br /> <br /> &quot;炒面&quot; is a famous traditional Chinese snack. Translators translate it as &quot;chow mein&quot; instead of &quot;Chinese chow mein&quot;. In the dictionary, &quot;chow mein&quot; means Chinese-style fried noodles with small pieces of meat and vegetables. This translation also gives the reader a more intuitive idea of what the dish is.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)<br /> Example 2:<br /> &quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&quot;(Jingfang Hao 2016:32)<br /> <br /> &quot;…over a half bottle of baijiu…&quot; (Ken Liu 2015)<br /> <br /> The foreignizing translation is adopted here, &quot;白酒&quot; is translated into &quot;baijiu&quot; , the translator doesn't use the word like &quot;spirits&quot;, it not only retains Chinese cultural characteristics, but also achieves communicative effect.<br /> <br /> Here, foreignization method is used, and &quot;白酒&quot; is translated as &quot;baijiu&quot;. The translator does not use words like &quot;spirits&quot;, which retains Chinese cultural characteristics and achieves a communicative effect at the same time.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)<br /> Example 3:<br /> <br /> &quot;哎，你们知道那儿一盘回锅肉多少钱吗？&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…how much they charge for an order of twice -cooked pork over there?&quot; (Ken Liu 2015)<br /> <br /> The special feature of this dish is that it is boiled in water and then stir-fried. The translator captures this feature in translation, trying to make people understand the meaning of &quot;回锅&quot;, and this dish is made with pork, he wants readers of the English translation to see an image of the dish in their heads in the same way that Chinese people do.（Zhou Xingyang,2018:53）<br /> <br /> The characteristic of this dish is that it is first boiled in water and then stir-fried. The translator has captured this feature in his translation, trying to make people understand the meaning of &quot;回锅&quot;, which is made with pork, and he hopes that readers of the English translation will see the image of this dish in their minds, just like the Chinese do.（Zhou Xingyang,2018:53）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)<br /> =====2.3.2 Folk Culture=====<br /> <br /> Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.（Zhou Xingyang,2018:52）<br /> <br /> Chinese people also have their own unique lifestyles, customs, behavior patterns, etc. in terms of vocabulary. The following will analyze the functional equivalence of translation in folk culture. (Zhou Xingyang,2018:52).--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)<br /> <br /> Example 1:<br /> &quot;…几个人分吃两个菜…&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…and they shared two dishes family-style.&quot; (Ken Liu 2015)<br /> <br /> &quot;分吃&quot; is the most common way of eating in traditional Chinese culture, where several dishes are shared among friends and family. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he uses the word &quot;shared&quot; and he adds the word &quot;family-style&quot; to make it easier for the reader to understand the behavior. <br /> <br /> &quot;分吃&quot; is the most common way of eating in traditional Chinese culture, where friends and relatives share several dishes among themselves. The purpose of the passage is to show the boy's poverty. The translator takes into account the differences between Chinese and Western cultures, where Westerners behave differently, so he uses the word &quot;sharing&quot; and adds the word &quot;family style&quot; to make it easier for the reader to understand this behavior.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)<br /> Example 2:<br /> &quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&quot;(Jingfang Hao 2016:27)<br /> <br /> &quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&quot; (Ken Liu 2015)<br /> <br /> The culture of hometown is a major feature of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &quot;老乡&quot; from a geographical perspective. &quot;管事儿&quot;means to have some authority. The translator also explains this word so that readers can understand it easily.<br /> <br /> The culture of hometown is one of the major characteristics of Chinese culture. People from the same hometown share similar living habits, upbringing and cultural background, so even strangers can get acquainted quickly and even help each other. Since Lao Ge and Lao Dao are from the third dimension, the translator explains the term &quot;老乡&quot; from a geographical perspective.&quot; 管事儿&quot; means to have some authority. The translator also explains this word to make it easy for readers to understand.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)<br /> <br /> Example 2:<br /> &quot;一点心意，你收下。&quot; (Jingfang Hao 2016:23)<br /> <br /> &quot;Please accept this token of my appreciation.&quot;(Ken Liu 2015)<br /> <br /> In this passage, Yi Yan said that she hoped Lao Dao could help her keep a secret, so she wanted to give Lao Dao with money. &quot;心意&quot; means money, which is an euphemism used in China when it is inconvenient to offer money directly. In translation, the translator also considered an euphemistic way of expression, so he used the word &quot;appreciation&quot;.<br /> <br /> In this passage, Yi Yan says that she hopes Lao Dao will help her keep her secret, so she wants to use money to give Lao Dao.&quot; 心意&quot; means money, which is a Chinese euphemism when it is not convenient to give money directly. In the translation, the translator also considered it a euphemism, so the word &quot;appreciation&quot; was used.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)<br /> <br /> =====2.3.3 Culture of Idioms=====<br /> <br /> Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.（Zhou Xingyang,2018:51）<br /> <br /> Idioms are an important part of the vast and profound Chinese culture. Chinese people use these idioms in their daily life and writing, but some idioms sometimes have different meanings in different contexts. However, some idioms sometimes have different meanings in different contexts, and it is important to pay attention to the differences between the two cultures when translating them.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)<br /> <br /> The author used many idioms in the article, such as &quot;饿虎扑食&quot;, the translator translated it into &quot;ate heartily&quot;, although the translation is easy to understand, but without the image that people are very hungry to eat, from the perspective of functional equivalence, English readers seem to be unable to reach the same level of understanding and response as Chinese readers.<br /> <br /> The author uses many idioms in the article, such as &quot;饿虎扑食&quot;, which the translator translates as &quot;to eat in a heartbeat&quot;. Although the translation is easy to understand, without the image of a person eating very hungry, it seems that English readers cannot achieve the same understanding and reaction as Chinese readers from the perspective of functional equivalence.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)<br /> <br /> And &quot;（盘子）一片狼藉&quot;translated into &quot;The dishes were a mess&quot;, it is a brief description of the mess. And &quot;成人之美&quot; translated into &quot;in that case I'll have done a good deed by keeping silent&quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he was keeping secrets and that Yi Yan and Qin Tian might get together in the future. The translator abstractly translated the sentence in the English translation.<br /> <br /> And &quot;(盘子)一片狼藉&quot; is translated as &quot;the plate is a mess&quot;, which is a description of a messy situation on the plate. And &quot;the beauty of adulthood&quot; is translated as &quot;in that case, I am doing a good deed by keeping quiet&quot;, the idiom in the original text was originally used to describe how Lao Dao felt that he kept the secret that Yi Yan and Qin Tian might be together in the future. The translator translated the phrase abstractly into the English translation.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)<br /> <br /> ===Conclusion===<br /> <br /> From the analysis of the English translation of Folding Beijing from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of Folding Beijing to the English reader.（Zhou Xingyang,2018:56）<br /> <br /> The English translation of Folding Beijing is analyzed from three aspects of meaning, style, and culture using this paper's functional equivalence theory, and it is concluded that the English translation meets the English readers' understanding of the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and reciprocal Chinese translation of Folding Beijing for English readers. (Zhou Xingyang,2018:56)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:25, 19 December 2020 (UTC)<br /> <br /> Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is essentially the same as that of the source language readers, so the target language can be regarded as a functional equivalence translation. Analyze from three aspects: meaning, style and culture &quot;Folding Beijing&quot; English version, you can see on the language, while Chinese and English in logic and grammar are greatly different, there exist many differences in the Chinese culture and western cultures, but the translator still tries his best to keep the content of the original text in the translation and find more appropriate words.<br /> <br /> Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is basically the same as that of the source language readers, so the target language can be regarded as a functionally equivalent translation. Analyzing the English version of Folding Beijing from three aspects: meaning, style and culture, we can see that linguistically, although Chinese and English are very different in logic and grammar, and there are many differences between Chinese and Western cultures, the translator still tries to keep the original content and find more suitable words in the translation.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:25, 19 December 2020 (UTC)<br /> <br /> In terms of some specific content, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction, which is of great value.（Tan Zaixi,1999）<br /> <br /> In some specific contents, the translators do not translate into exactly the same form, which is also in line with Nida's theory of functional equivalence, because Nida also suggests that translation should not be limited to form, and the translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original, which may be an area for improvement. Nida's functional equivalence theory does provide a good theoretical model for the translation of science fiction novels, which is of great value.（Tan Zaixi,1999）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:25, 19 December 2020 (UTC)<br /> <br /> ===References===<br /> <br /> Hao Jingfang.(2015).Folding Beijing[J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy<br /> <br /> Hao Jingfang郝景芳.(2016).孤独深处[The Depth of Loneliness].南京：江苏凤凰文艺出版社[Nanjing:Jiangsu phoenix literature and art publishing,LTD]：1-40<br /> <br /> Nida,Eugene A.(1993)Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press：118<br /> <br /> Nida,Eugene A.(2001)Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press<br /> <br /> Nida,Eugene A. &amp; Taber.(2004) Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press：12-24<br /> <br /> Tan Zaixi谭载喜.(1999).新编奈达论翻译[A new version of Nida's theory on translation].北京:中国对外翻译出版公司[Beijing:China Translation and Publishing Corporation]<br /> <br /> Xu Jun,Mu Lei许钧,穆雷.(2009).翻译学概论[Introduction to translatology].南京：译林出版社[Nanjing: Yilin Press]<br /> <br /> Zhao Dandan赵丹丹.(2011).浅论奈达的功能对等理论[Nida's theory of functional equivalence].湖北：文学教育[Hubei:Literature Education]<br /> <br /> Zhou Xingyang周兴阳.(2018).从功能对等理论视角看《北京折叠》英译本研究[Chinese Science Fiction Translation in the Perspective of Functional Equivalence-A case Study of Beijing Zhe Die and its English Version-Folding Beijing].新疆大学[Xinjiang University]<br /> <br /> Wang Guiyuan王桂圆.(2018)系统功能语言学视角下《北京折叠》英译研究[A Study on The Translation of Folding Beijing from the Perspective of Systemic Functional Linguistics].安徽：海外英语[Anhui：Overseas English]<br /> <br /> ==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==<br /> &lt;center&gt;余妮 Yu Ni No.202070080620&lt;/center&gt;<br /> ===Abtract===<br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. <br /> <br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s version has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===Key Words===<br /> Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong<br /> ===题目 ===<br /> 功能对等理论下余光中译《不可儿戏》分析<br /> ===摘要===<br /> The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。<br /> ===关键词===<br /> 功能对等；《不可儿戏》；余光中<br /> ===Introduction===<br /> “The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. <br /> <br /> “The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.<br /> <br /> The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) which was co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable, for it has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. With the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The following chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author makes a conclusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===An Introduction of Functional equivalence===<br /> ====The Definition of Functional Equivalence====<br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.<br /> <br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, according to the nature of translation. He pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).<br /> <br /> The equivalence in “dynamic equivalence” includes four aspects—lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, we should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural reaction of the source language in the target language(Guo Jianzhong, 2000).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Three Steps of Translation====<br /> Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.<br /> <br /> Firstly, we should create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully displays the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?<br /> <br /> Secondly, if meaning and culture concepts cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost not much snow in southern China all year round. Therefore, based on their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)<br /> <br /> In the translation, translators can eliminate cultural differences by changing the form of vocabularies. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and the image of “雨后春笋”. (Guo Jianzhong, 2000)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.<br /> <br /> Thirdly, if the change of form is not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Re-creation” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===''The Importance of Being Earnest'' and Its Chinese Versions===<br /> ====An Introduction of Oscar Wilde and His Works====<br /> Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).<br /> <br /> Oscar Wilde, born in Dublin, Ireland, is a “born for art” writer. He was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.<br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In this play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)<br /> <br /> Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies, revealing the hypocritical ethical concepts in Victorian era.(Wilde, 2009)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)<br /> <br /> Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Chinese Versions of The Importance of Being Earnest====<br /> =====An Overview of Its Chinese Versions =====<br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).<br /> <br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).<br /> <br /> Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared to previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).<br /> <br /> Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).<br /> <br /> From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Yu Guangzhong and His Chinese Version=====<br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). <br /> <br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections. Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.<br /> <br /> He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was first published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers but also for Chinese audiences and actors. Therefore, his translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===The Application of Functional Equivalence to Yu Guangzhong’s Version===<br /> ====Translation Strategies of Yu Guangzhong’s Version==== <br /> =====Translation of the Drama Title=====<br /> So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).<br /> <br /> So far, there are three famous versions of The Importance of Being Earnest—Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> “Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. <br /> <br /> “Functional equivalence emphasizes translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).<br /> <br /> Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Translation of Characters’ Names=====<br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.<br /> <br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but in different meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.<br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)<br /> <br /> It not only facilitated the needs of the audience but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience would be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.<br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. <br /> <br /> Yu Guangzhong translated “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. <br /> <br /> In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language remain the same.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.<br /> <br /> Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.<br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Translation of Characters’ Dialogues=====<br /> “There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.<br /> <br /> “There are many allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ======Alliteration======<br /> &quot;Many English allusions and idioms are used in Wilde’s plays&quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.<br /> <br /> (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.<br /> <br /> (1) ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.<br /> <br /> In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. <br /> <br /> (2) CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack. Here, “bitter” and “blessings” employed alliteration devices.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. <br /> <br /> Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can still benefit from them. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’ s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).<br /> <br /> An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting <br /> <br /> <br /> ======Paradox======<br /> (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor <br /> husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)<br /> 巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)<br /> Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). <br /> <br /> Paradox is a device favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed. Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.<br /> <br /> <br /> (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?<br /> CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for <br /> publication. (Wilde, 2009)<br /> 亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?<br /> 西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)<br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. <br /> <br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect. In example 4, what amused the audience was the conclusion contrary to the reasons.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)<br /> <br /> Yu Guangzhong added a Chinese conjunction “所以”. With it, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the readers will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ======Antithesis======<br /> <br /> (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)<br /> 亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)<br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. <br /> <br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators. Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty. Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).<br /> <br /> As a matter of fact, the target language seemed to be better than the source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)<br /> 劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)<br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.<br /> <br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in the target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Suggestions on Translation from Yu Guangzhong’s Version====<br /> Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.<br /> <br /> Through the analyses of Yu Guangzhong’s version, we may have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is the most popular one among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).<br /> <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is the variety of rhetorical devices. In the process of translation, Yu Guangzhong grasped this point. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). <br /> <br /> The second translation strategy is that the form can be changed properly but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning. The beauty of the original will be destroyed, too. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).<br /> <br /> For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===Conclusion===<br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). <br /> <br /> <br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we can have a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”. In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting<br /> <br /> One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.<br /> <br /> One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed but the meaning and satirical effect cannot be reduced. With these strategies, we can produce better translation. Even though we can gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===References===<br /> Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.<br /> <br /> Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.<br /> <br /> Eugene A. Nida &amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.<br /> <br /> Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.<br /> <br /> Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.<br /> <br /> Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.<br /> <br /> Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.<br /> <br /> Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.<br /> <br /> Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.<br /> <br /> Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.<br /> <br /> Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.<br /> <br /> Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.<br /> <br /> Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.<br /> <br /> Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.<br /> <br /> Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.<br /> <br /> Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.<br /> <br /> Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.<br /> <br /> Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> =Applicaton of Translation Theories=<br /> ==Study of Application of Interpretive Theory in Interpretation 韩宛真 Han Wanzhen 202020080603== <br /> <br /> ===Abstract===<br /> With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. <br /> <br /> With the development of economic globalization,exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand.The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice. Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:58, 16 December 2020 (UTC)<br /> <br /> ===Key words===<br /> interpretive theory; interpretation,; translation strategies<br /> <br /> ===题目===<br /> 释意理论指导下的口译<br /> <br /> ===摘要===<br /> 随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。<br /> <br /> ===关键词===<br /> 释意理论；口译；翻译策略<br /> <br /> ===1.Introduction===<br /> In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.<br /> <br /> ===1.1 Introduction of Interpretive Theory===<br /> The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. <br /> <br /> The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)<br /> <br /> The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &quot;meaning&quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicit), which means that the speaker actually wants to express the meaning: the second is the explicit, which the speaker actually says content.(Kong Shaohui 2009, 127)<br /> <br /> The first is the implied meaning(implictit), which means that the speaker actually wants to express the meaning: the second is explicit, which the speaker actually says content.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &quot;implied meaning&quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. <br /> <br /> Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.<br /> <br /> The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can<br /> understanding:the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &quot;thought that has not been expressed in words&quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.<br /> <br /> understanding: the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and though contend to be expressed, this stage is called interpretation of discourse. --[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &quot;de-verbalization&quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.<br /> <br /> The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.<br /> <br /> In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)<br /> <br /> ===1.2 Introduction of Interpretation===<br /> Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.<br /> Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.<br /> <br /> There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &quot;lightning thinking&quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &quot;simultaneous interpretation&quot; is almost impossible). (Ouyang Changyi 2010)<br /> <br /> Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &quot;simultaneous interpretation is a half-expert in any field.&quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)<br /> <br /> ===2. Literary Review===<br /> No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.<br /> <br /> ===2.1 The Research on Interpretive Theory===<br /> Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.<br /> <br /> The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &quot;interpretive&quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. <br /> <br /> At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. <br /> <br /> Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.<br /> <br /> It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.<br /> <br /> ===2.2 The Research on Interpretation under the Guide of Interpretive Theory===<br /> <br /> Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. <br /> <br /> With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.<br /> <br /> First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &quot;One Belt One Road&quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &quot;Black Technology&quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.<br /> <br /> On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.<br /> The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.<br /> <br /> ===3.Translation Strategies based on Interpretive Theory===<br /> Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.<br /> <br /> Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> ===3.1 Free Translation===<br /> <br /> The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。<br /> Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.<br /> &quot;而立之年&quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.<br /> 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。<br /> Translation: FOCAC is a valuable asset for China and Africa.<br /> &quot;金字招牌&quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.<br /> <br /> ===3.2 Addition of Message===<br /> <br /> Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。<br /> Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.<br /> In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.<br /> 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。<br /> Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.<br /> From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.<br /> <br /> ===3.3 Positive and Negative Translation===<br /> <br /> As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:<br /> 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。<br /> Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.<br /> The sentences in the source text are all expressed by the negative &quot;cannot&quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.<br /> 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。<br /> Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.<br /> The source text is a negative sentence containing the negative “cannot&quot; when translated into English. The translator is telling the truth, the translation is &quot;at least&quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.<br /> <br /> ===Conclusion===<br /> <br /> In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.<br /> <br /> The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. <br /> <br /> Translators should use translation strategies flexibly.The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)<br /> <br /> The interpretive theory is the hypothesis of &quot;beyond the shell of the source language&quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &quot;out of&quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)<br /> <br /> In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past. &quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &quot;departure from the source language&quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&quot;(Lederer 2001, 45-50)<br /> <br /> In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> ===References===<br /> *Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &quot;Interpretive theory.&quot;: 1. <br /> <br /> *Dougherty, Ray C. (1969). &quot;An interpretive theory of pronominal reference.&quot; Foundations of Language: 488-519.<br /> <br /> *Gong Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.<br /> <br /> *Jackendoff, Ray S. (1969). &quot;An interpretive theory of negation.&quot; Foundations of language: 218-241.<br /> <br /> *Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.<br /> <br /> *Lederer Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.<br /> <br /> *Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.<br /> <br /> * Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.<br /> <br /> * Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]<br /> <br /> * Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.<br /> <br /> *Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.<br /> <br /> *Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.<br /> <br /> ='''Theory and Practise'''=<br /> <br /> <br /> ==The Development of Translation in Chinese Buddhist Scriptures 陈佳欣 Chen Jiaxin 202020080593==<br /> <br /> ===Abstract===<br /> The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.<br /> The “article” would better to be “paper” The “problem” would better to be “ disputation” or “controversy”--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 09:45, 19 December 2020 (UTC)<br /> <br /> ===Keywords ===<br /> Buddhist scriptures, Translation, Literal translation, Free translation<br /> <br /> ===摘要===<br /> 佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。<br /> <br /> ===关键词===<br /> 佛经，翻译，直译，意译<br /> <br /> ===Introduction===<br /> Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time. About the first century AD Buddhism entered China along trade routes from Central Asia. Thus, the translation of Buddhist scriptures came into being.<br /> Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time, until they entered China along trade routes from Central Asia in the first century AD.--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 16:04, 19 December 2020 (UTC)<br /> <br /> <br /> Buddhism was widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.<br /> Chnese—Chinese please keep your tense consistency. There should be some conjunctions to make it more logical.--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 16:04, 19 December 2020 (UTC)<br /> <br /> During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the form similarity and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. “The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation” (Sun Shanshan 2014, 174).<br /> adhere strictly to — strictly adhere to; the form similarity— the similarity in form--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 16:04, 19 December 2020 (UTC)<br /> <br /> In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three period. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposed that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposed to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang held that translation “must be truthful and intelligible to the populace”.<br /> three period —three periods. Please keep your tense consistency. --[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 16:04, 19 December 2020 (UTC)<br /> <br /> === The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===<br /> The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.<br /> <br /> it was not so widely accepted by Chinese society due to language barrier that it is of great …into Chinese, hence translators of Buddhist scriptures Constantly emerge. --[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 03:38, 20 December 2020 (UTC)<br /> <br /> ==== An Shigao ====<br /> An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He totally translated 35 Buddhist Scriptures, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).<br /> <br /> He translated 35 Buddhist Scriptures in total. --[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 03:38, 20 December 2020 (UTC)<br /> <br /> ==== Zhi Chen ====<br /> Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. <br /> “Transliteration” “ the same as”--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 03:38, 20 December 2020 (UTC)<br /> <br /> ==== Zhi Qian ====<br /> Zhi Qian, also known as Zhi Yue, is a Buddhist scripture translator during the Three Kingdoms period. He is the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignore the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.<br /> <br /> Please keep the tense consistency. “while ignoring”--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 03:38, 20 December 2020 (UTC)<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. <br /> <br /> (2)The mainstream translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures.<br /> <br /> “mainstream” —“dominant”--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 03:38, 20 December 2020 (UTC)<br /> <br /> On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore then can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.<br /> <br /> “then can only…”—“they” --[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 03:38, 20 December 2020 (UTC)<br /> <br /> (3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.<br /> <br /> === the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===<br /> The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.<br /> <br /> Buddhism believer is not “only”limited to--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 04:10, 20 December 2020 (UTC)<br /> <br /> ====Shi Daoan ====<br /> Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he is also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. <br /> Please keep your tense consistency--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 04:10, 20 December 2020 (UTC)<br /> <br /> <br /> “‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&quot;Three Difficulties in Translation&quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.<br /> <br /> The principle of “Five Losses…” --[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 04:10, 20 December 2020 (UTC)<br /> <br /> The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.<br /> “by private”—“privately”--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 04:10, 20 December 2020 (UTC)<br /> <br /> <br /> <br /> ==== Kumarajiva ====<br /> Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &quot; the first class master of translation&quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He is one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translates 39 volumes. He is proficient in both Chinese and Sanskrit languages, and advocates that as long as the translation does not violate the original meaning, there is no need to follow the original form. <br /> Please keep the tense consistency--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 04:10, 20 December 2020 (UTC)<br /> <br /> “Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &quot;geyi&quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992, 186). He argued that “geyi” is the culprit of the deformation of India Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25).<br /> India— Indian--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:46, 20 December 2020 (UTC)<br /> <br /> <br /> Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness.<br /> <br /> <br /> Another remarkable achievement is his contribution to the translation workshop. After he arrived Chang'an, he began to organize translation workshops. Under his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.<br /> “arrived”—“reached” “under his efforts”—“with his efforts” --[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:46, 20 December 2020 (UTC)<br /> <br /> ==== The Characteristics of This Period ====<br /> (1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).<br /> There is some overlaps “at the beginning” and “at the early days”--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:58, 20 December 2020 (UTC)<br /> (2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads）are usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China，translators can take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there are more Sanskrit texts, they have more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.<br /> Please keep the tense consistency--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:58, 20 December 2020 (UTC)<br /> (3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.<br /> <br /> (4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).<br /> metaphysics— and metaphysics--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:58, 20 December 2020 (UTC)<br /> <br /> === Tang Dynasty ===<br /> The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously. In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age is Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.<br /> Please keep the tense consistency--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 06:36, 20 December 2020 (UTC)<br /> <br /> ==== Xuang Zang ====<br /> Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &quot; Sanzang Rabbi.&quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses, the number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).<br /> There are many commas without conjunctions.--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 06:36, 20 December 2020 (UTC)<br /> <br /> In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &quot;Doroni&quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &quot;bhaga&quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &quot;jumbu tree&quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &quot;Aunt Bodhi&quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &quot;prajna&quot; respect, &quot;wisdom&quot; is light and shallow. “The word &quot;Untranslatable&quot; here does not mean not translating, but rather &quot;not intended to translate&quot;, using transliteration”( Jian Xue 2018, 28).<br /> The words with mystery? Can it be the words with the sense of mystery?--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 06:36, 20 December 2020 (UTC)<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translators are mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also has a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who are proficient in Sanskrit has gradually increased, and the translation work does not need to turn to foreign monks.<br /> but also has — but also had --[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 06:36, 20 December 2020 (UTC)<br /> <br /> <br /> (2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation.<br /> <br /> (3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty is more all-sided in organization. “According to records, The translation workshop of the Tang Dynasty has as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them are rabbis appointed by the court.<br /> The —the translation workshop system please keep the tense consistency--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 06:36, 20 December 2020 (UTC)<br /> <br /> <br /> (4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.<br /> <br /> (5) The translation scripts are more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believes that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.<br /> Please keep the tense consistency --[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 06:36, 20 December 2020 (UTC)<br /> <br /> === The Influence of the Translation of Buddhist Scriptures ===<br /> The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> The influence of Buddhist scripture translation on Chinese is mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.<br /> Please keep the tense consistency --[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 06:41, 20 December 2020 (UTC)<br /> <br /> <br /> “In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&quot;, &quot;Sutra” etc; some are words that we don’t realize, such as &quot;memory&quot;, &quot;world&quot;, &quot;now&quot;, &quot;causality&quot;, &quot;attachment&quot;, &quot;emptiness&quot;, &quot;reality&quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).<br /> <br /> The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to be the main motive.<br /> <br /> In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.<br /> <br /> === Conclusion ===<br /> The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.<br /> <br /> The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.<br /> The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation<br /> <br /> === References ===<br /> Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223<br /> <br /> Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308<br /> <br /> Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.<br /> <br /> Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University <br /> <br /> Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.<br /> <br /> Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.<br /> <br /> Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. <br /> <br /> Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press<br /> <br /> Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &quot;Five Losses of Source Texts and Three Difficulties in Translation&quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.<br /> <br /> WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.<br /> <br /> Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.<br /> <br /> Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.<br /> <br /> He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.<br /> <br /> Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.<br /> <br /> Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.<br /> <br /> Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.<br /> <br /> ==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts'' 成于思 Cheng Yusi ==<br /> &lt;center&gt;成于思 Cheng Yusi No.202020080598 比较文学与跨文化研究&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the paper is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the paper will make a comparison of these two books to deepen readers' understanding of them.<br /> <br /> ===Key words===<br /> <br /> André Lefevere; ''Translation History and Culture: A Sourcebook''; Liu Miqing; ''A Comparative Study of Chinese and Western Translation Principles''; “cultural turn”; John Dryden; translation principles<br /> <br /> ===题目===<br /> 《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析<br /> <br /> ===摘要===<br /> 安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。<br /> <br /> ===关键词===<br /> <br /> 安德烈·勒菲弗尔;《翻译，历史和文化论集》; 刘宓庆;《中西翻译思想对比研究》;文化转向;约翰·德莱登;翻译原则<br /> <br /> ===1.Introduction===<br /> This paper presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, this paper is intended to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This paper will be divided into three parts.<br /> <br /> In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, paraphrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. Dryden's comparison of a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.<br /> <br /> In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72) Finally, the author will show some scholars’ appraisals of this book.<br /> <br /> In part three, it intends to give a brief comparison of these two books in contents and forms.<br /> <br /> All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.<br /> <br /> ===2. Analysis of ''Translation, History and Culture: A Sourcebook''===<br /> <br /> ''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&quot;(Munday 2016,199) As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &quot;cultural turn&quot; of translation proposed by Translation Studies. <br /> <br /> In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &quot;a rewriting of an original text&quot;. Here, they explained that &quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&quot; (Lefevre 2003, xi) According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. <br /> <br /> In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii) <br /> <br /> Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &quot;cultural turn&quot;. The &quot;cultural turn&quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &quot;cultural turn&quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)<br /> <br /> If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &quot;cultural turn&quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.<br /> <br /> The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements, which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)<br /> <br /> I enjoy reading this book because it brings those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. <br /> <br /> I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&quot;. (Lefevere 2003, 47) <br /> <br /> In this part, I will analyze John Dryden's three types of translation and his comparison of &quot;an author and a translator&quot; to &quot;a master and a slave&quot; through the excerpts collected in ''Translation, History and Culture: A Sourcebook''.(Lefevere 2003, 24;102-105)<br /> <br /> Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2) The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &quot;author and translator&quot; to &quot;master and slave&quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii) Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.<br /> <br /> Lefevere extracts two statements by Dryden and relatively places them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracts an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102)<br /> <br /> In the preface, Dryden proposes three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102) <br /> <br /> Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating poems in such a way is like &quot;dancing on ropes with fettered legs&quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)<br /> <br /> Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&quot;.(Lefevere 2003, 103) <br /> <br /> As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103)<br /> <br /> Dryden proposes a mean betwixt them --- to paraphrase, or to translate with latitude. &quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&quot;.(Lefevere 2003, 104)<br /> <br /> It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &quot;he may stretch his chain to such a latitude&quot;.(Lefevere 2003, 105) In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. <br /> <br /> Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)<br /> <br /> However, in Chapter Two, in &quot;Dedication&quot; to his translation of the Aeneid, Dryden argues that &quot;We are bound to our author's sense, though with the latitudes already mentioned&quot;.(Lefevere 2003, 24). He compares a translator to a slave and drudged to express his views on the role of translators. &quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&quot; (Lefevere 2003, 24)<br /> <br /> Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars, like Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014) <br /> <br /> A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &quot;classical writers&quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works were with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)<br /> <br /> Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73) <br /> <br /> About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)<br /> <br /> ===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===<br /> <br /> In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &quot;Sixiang&quot; (&quot;thought&quot; in Chinese) refers to &quot;principle&quot; in the West in this book. (Liu Miqing 2005, 2) <br /> <br /> In the FAQ passage, the author explained why he wrote this book. &quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&quot;(Liu Miqing 2005, i) It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. <br /> <br /> Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)<br /> <br /> The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30) The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33) <br /> <br /> He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43)<br /> <br /> The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39)<br /> <br /> Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150)<br /> <br /> Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &quot;emphasis on meaning&quot; and establish a new concept of &quot;emphasis on the meaning in communication&quot; (Liu Miqing 2005,179) <br /> <br /> The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288)<br /> <br /> However, he also recognizes that the 1960s to 1970s has witnessed great progress in Western translation theory. Liu divides Western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School and New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the forms and the effects of communication, the functions of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)<br /> <br /> Finally, Liu points out that Western translation theory is &quot;technology-oriented&quot;, and he gives his reasons: first, the lack of compass of theories which can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current superficial, assertive and rational views and remarks on theory; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)<br /> <br /> The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &quot;translation and language game&quot;, Liu puts forward that &quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402)<br /> <br /> Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i) This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44)<br /> <br /> Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflect the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulated that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)<br /> <br /> Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &quot;all is vanity&quot;, &quot;being detached from worldly affairs&quot; and &quot;obedience&quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987) <br /> <br /> In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still struck by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation principles that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the feature of the tradition of Chinese translation changes from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)<br /> <br /> As such, the flourishing of translation is bound to be our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the Western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but also cleared the way to economic growth as well. Meanwhile, integrated translation has paved the way for European integration. (Liu Miqing 2005, 101) <br /> <br /> The second characteristic of the tradition of Chinese translation is &quot;regulation to perfection&quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51) <br /> <br /> The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101) Moreover, Western translation principles give priority to &quot;Communicative Translation&quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104)<br /> <br /> The third characteristic is &quot;the focus on meaning as well as aesthesis&quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52)<br /> <br /> Wang Guowei pointed out that the word &quot;Nao&quot; in the verse &quot;Hong Xing Zhi Tou Chun Yi Nao&quot; conveys the Jingjie of the whole poem.(Wang Guowei 2017,15) Therefore, if one attempts to translate Chinese poems, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility, it expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)<br /> <br /> Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006)<br /> <br /> Lu Wei and Li Defeng shed light on the topic &quot;translation theories with Chinese characteristics&quot; and argues that Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'' provides a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)<br /> <br /> ===4. Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===<br /> <br /> ===4.1 From the aspect of the content===<br /> Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. <br /> <br /> Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracts other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)<br /> <br /> ===4.2 From the aspect of the arrangement===<br /> <br /> Both of these two books are arranged in theme rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters, which are concerned with the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. As to the longer essays, they are collected in the last chapter. <br /> <br /> Liu arranges his book differently. Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', which includs the characteristics, origins, schools and limitations of Chinese and Western translation, Liu not only quotes other’s statement, he also applies many tables to demonstrate his thoughts, which helps readers understanding translation principles.<br /> <br /> ===Conclusion===<br /> <br /> In conclusion, the paper intends to help readers to have better understanding of the two books. After a brief introduction of these two books, there follows the analysis of John Dryden’s three types of translation and his comparison of a translator to a slave. Then, it figures out the reasons of the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learn translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 12:08, 20 December 2020 (UTC)<br /> <br /> ===References===<br /> André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp; Francis e-library.<br /> <br /> André Lefevere &amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;New York: Pinter Publishers.<br /> <br /> Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.<br /> <br /> Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.<br /> <br /> Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp; Francis Group.<br /> <br /> Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp; Publishing Corporation中国对外翻译出版公司.<br /> <br /> Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp; Technology Translators Journal 23(02):11-14+29.<br /> <br /> Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.<br /> <br /> Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.<br /> <br /> Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.<br /> <br /> Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> ==The development and future trend of translation Theory 张慧 Zhang Hui 202070080622 英语笔译==<br /> <br /> ===Abstract===<br /> This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.<br /> ===Key Words===<br /> Chinese and Western, translation theory, development, trend<br /> ===摘要===<br /> 本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。<br /> ===关键词===<br /> 中西方，翻译理论，发展，趋势<br /> ===Introuction===<br /> Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.<br /> <br /> Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)<br /> ===The Four Periods of Development of Chinese Translation Theory===<br /> <br /> Ancient Translation Period<br /> <br /> The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）<br /> <br /> Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &quot;seeking the truth&quot; and &quot;using the vulgar&quot; in the translation process. He also established the principle of &quot;five not to turn,&quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）（quotation missing）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> Translation of the Late Qing Dynasty and Early Republic of China<br /> <br /> A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）<br /> <br /> Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）<br /> <br /> Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）<br /> <br /> His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）（paragraph too long）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.<br /> <br /> Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: <br /> <br /> (1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.<br /> <br /> Translation Theory in the Republic of China<br /> <br /> Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &quot;shenyun translation&quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）<br /> <br /> Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）<br /> <br /> After the Founding of the People’s Republic of China<br /> <br /> The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）<br /> <br /> Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）<br /> ===Prospects for the Development of Contemporary Chinese Translation Theory===<br /> <br /> Emphasis on the study of basic translation theory <br /> <br /> Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> “Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). <br /> <br /> In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). <br /> <br /> Innovation of ontology<br /> <br /> Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) <br /> <br /> Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> ===The Historical Development of Western Translation Theory and Its Classification===<br /> <br /> Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. <br /> <br /> The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)<br /> <br /> <br /> The School of Thought and the Main Characteristics of Western Translation Theory<br /> <br /> Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.<br /> <br /> Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. <br /> <br /> The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. <br /> <br /> These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. <br /> <br /> Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. <br /> <br /> Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. <br /> <br /> The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)<br /> <br /> The Response of Western Translation Theory in China’s Translation Industry<br /> <br /> As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. <br /> <br /> Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)<br /> <br /> ===Analysis of Theoretical Research Status===<br /> <br /> Descriptive Analysis of Translation Theory Research<br /> <br /> First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)<br /> <br /> Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.<br /> Third, researchers and institutions. <br /> <br /> The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)<br /> Systematic Analysis of Translation Theory Research<br /> <br /> First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.<br /> <br /> Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.<br /> <br /> Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.<br /> <br /> Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. <br /> <br /> Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. <br /> <br /> This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.<br /> <br /> Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).<br /> <br /> The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. <br /> <br /> The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.<br /> <br /> ===Trends in Translation Theory Research===<br /> <br /> Interdisciplinary cooperation and integration<br /> <br /> Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. <br /> <br /> In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）<br /> <br /> Return to culture development<br /> <br /> The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.<br /> <br /> Seeking Common Ground while Surviving Differences in Cultural Translation<br /> <br /> Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）<br /> <br /> ===Conclusion===<br /> <br /> From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.<br /> <br /> ===References===<br /> <br /> [1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.<br /> <br /> [2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.<br /> <br /> [3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.<br /> <br /> [4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.<br /> <br /> [5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.<br /> <br /> [6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.<br /> <br /> [7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.<br /> <br /> [8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.<br /> <br /> [9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.<br /> <br /> [10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.<br /> <br /> [11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.<br /> <br /> ==A Cultural Critique of Foreignization and Domestication 吴子佳 Wu Zijia 202070080645==<br /> <br /> 吴子佳 Wu Zijia 202070080645<br /> <br /> ==='''Abstract'''===<br /> Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.<br /> <br /> ==='''Key words'''===<br /> <br /> Domestication foreignization cultural-overloaded words cross-cultural communication.<br /> <br /> ==='''摘要'''===<br /> <br /> 归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。<br /> <br /> ==='''关键词'''===<br /> <br /> 归化，异化，文化负载词，跨文化交流<br /> <br /> <br /> ===''' Introduction of Domestication and Foreignization '''===<br /> <br /> Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）<br /> <br /> On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.<br /> Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）<br /> <br /> For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku）<br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞” cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku）<br /> <br /> ==='''Analysis on Culture Differences in Translation'''===<br /> <br /> Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. <br /> <br /> Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）<br /> <br /> So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &quot;dog&quot; is mostly unpleasant, so the metaphor of &quot;dog&quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）<br /> <br /> On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &quot;dog&quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）<br /> <br /> Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &quot;rice&quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &quot;bread and butter,&quot; &quot;big potato&quot;,”hot potato” and &quot;couch potato.&quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）<br /> <br /> ===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===<br /> <br /> 1. Practice of foreignization and domestication in tourism culture<br /> <br /> The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)<br /> <br /> Example 1:<br /> <br /> 路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字<br /> To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))<br /> Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> Example 2<br /> <br /> 云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。<br /> Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.<br /> Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> <br /> Example 3<br /> <br /> 花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)<br /> 孤山: Gushan (Solitary Hill) <br /> 湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。<br /> Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”<br /> Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> <br /> Example 4 <br /> <br /> Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> Example 5<br /> <br /> 她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。<br /> It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.<br /> The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> Example 6<br /> <br /> 四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。<br /> Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. <br /> By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> 2. Practice of Foreignization and Domestication in Food Culture<br /> <br /> With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）<br /> <br /> For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）<br /> <br /> Example 7<br /> <br /> 番茄牛腩(tomato and beef brisket)<br /> This translation consists of main ingredient and ingredient.<br /> 砂锅面(casserole noodles)<br /> This translation consists of utensils and ingredients.<br /> 淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)<br /> This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.<br /> 炒酸菜, 手抓饼(sauerkraut, shredded cake)<br /> This translation consists of the cooking method or eating method and ingredients.<br /> Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）<br /> <br /> Example 8<br /> <br /> 蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)<br /> This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.<br /> 霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)<br /> This translation is named after historical allusions.<br /> 驴打滚 (打糕) :Donkey roll (beating cake)<br /> This translation is named according to the production process metaphor. <br /> 佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).<br /> This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）<br /> <br /> Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.<br /> <br /> Example 9<br /> <br /> “叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &quot;Baked Chicken&quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)<br /> <br /> <br /> If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)<br /> <br /> Example 10<br /> <br /> Some foods are usually translated in the form of &quot;Hanyu Pinyin + English notes&quot; in order to retain certain characteristics.<br /> For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）<br /> <br /> For example, &quot;豆腐&quot; translates as &quot;Toufu&quot;; &quot;馄饨&quot; translates as &quot;Wonton&quot;. The translation of四一丸子:&quot;Four Happy Meatballs&quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）<br /> <br /> 3. Practice of Foreignization and Domestication in Diplomacy<br /> <br /> Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）<br /> <br /> Example 11<br /> <br /> 我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。<br /> What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.<br /> In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）<br /> <br /> Example 12<br /> <br /> “投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）<br /> To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.<br /> This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）<br /> <br /> Example 13<br /> <br /> 耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）<br /> &quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.<br /> This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）<br /> <br /> Example 14<br /> <br /> “滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）<br /> <br /> &quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.<br /> This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）<br /> <br /> Example 15<br /> <br /> 我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）<br /> <br /> If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&quot;稻草、吸管&quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）<br /> <br /> ===''' Conclusion '''===<br /> <br /> Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.<br /> <br /> ===''' References '''===<br /> <br /> * Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.<br /> * Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.<br /> * Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.<br /> * Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.<br /> * Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.<br /> * Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.<br /> * Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.<br /> * Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.<br /> <br /> ='''Contemporary Translation Studies'''=<br /> <br /> <br /> ==A Study On the Influence of Linguistics on the Construction of Translatology 孔祥慧 Kong Xianghui 202020080608==<br /> &lt;center&gt;孔祥慧 Kong Xianghui &lt;/center&gt;<br /> ==='''Abstract'''===<br /> Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence on the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .<br /> <br /> ==='''Key words'''===<br /> Translatology;Linguistic;Discipline Construction<br /> <br /> ===摘要===<br /> 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。<br /> <br /> ===关键词===<br /> 翻译学；语言学；学科构建<br /> <br /> ==='''1.Introduction'''===<br /> Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）<br /> <br /> For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation was regarded as a linguistic phenomena before. But later, with the development of the translation theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science, especially linguistics, can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）<br /> <br /> This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.<br /> <br /> ==='''2.Literature review '''===<br /> This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. <br /> <br /> This chapter will briefly review the research of the construction of Translatology at home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. (quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)<br /> <br /> '''2.1Studies on the construction of translatology aboard'''<br /> <br /> In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)<br /> <br /> In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recording two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 13:27, 19 December 2020 (UTC)<br /> <br /> <br /> Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.(Eugene Nida, 1947)<br /> <br /> J.C. Catford in his book ''A Linguistic Theory of Translation'' (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.(J.A Catford , 1965)<br /> <br /> J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and regarded seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure. (J.A Catford , 1965)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)<br /> <br /> Holmes published ''The Name and Nature of Translation Studies'' at The Third International Conference on Applied Linguistics in 1972, which was &quot;widely regarded as the founding declaration of the discipline of translation studies&quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.( James Holmes,1975)<br /> <br /> Holmes published The Name and Nature of Translation Studies at The Third International Conference on Applied Linguistics in 1972, which was &quot;widely regarded as the founding declaration of the discipline of translation studies&quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation, which directly promoted the construction of translation studies. ( James Holmes,1975)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)<br /> <br /> In 1982, Wolfram Wilss published ''the Science of Translation: Problems and Methods'', clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.(Wolfram Wilss, 1982)<br /> <br /> In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from several aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing the translation practice. (Wolfram Wilss, 1982)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)<br /> <br /> Newmark is also a representative figure in the field of translation. In his book ''Exploration of Translation'' (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.( Peter Newmark, 1981)<br /> <br /> Hatim &amp; Mason, whose representative work is ''Discourse and the Translator'' (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.(Hatim &amp; Mason,1990 )<br /> <br /> Hatim &amp; Mason, whose representative work is Discourse and the Translator (1990), which is the first book to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers. (Hatim &amp; Mason,1990 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)<br /> <br /> Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.(Christiane Nord, 1997)<br /> <br /> Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believed that the interdisciplinary study of translation is the inevitable trend of translation studies. (Christiane Nord, 1997)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)<br /> <br /> Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published ''Translation and Conflict'': A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.(Mona Baker, 2006)<br /> <br /> Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and interpret. She also emphasized the importance of corpus-based translation studies. (Mona Baker, 2006) --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)<br /> <br /> '''2.2 Studies on the construction of translatology at home'''<br /> <br /> In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology in China made great progress. （Tan Zaixi，1989）<br /> <br /> In 1951, Dong Qius, a famous Chinese translator, published his article ''On the Construction of Translation Theory''. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.(Dong Qiusi, 1951)<br /> <br /> In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were using correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books would be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe. (Dong Qiusi, 1951)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> In 1987, Tan Zaixi clearly put forward the view that &quot;translation studies are an independent subject&quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)<br /> <br /> In 1987, Tan Zaixi clearly put forward the viewpoint that &quot;translation studies are an independent subject&quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published ''On Approaches to Translation Studies''. In this paper, Tan mainly distinguished two concepts of &quot;translation&quot; and &quot;translatology&quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.(Tan Zaixi, 1987)<br /> <br /> In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published On Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &quot;translation&quot; and &quot;translatology&quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' the awareness of the subject of translation studies. (Tan Zaixi, 1987)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> In the thesis ''An Overview of Western Translation Theory'' (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)<br /> <br /> In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, translatology could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.(Liu Miqing, 1989)<br /> <br /> In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.(Liu Zhongde, 1995)<br /> <br /> At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.( Zhang Meifang, 2005) (Huang Guowen, 2006)<br /> <br /> At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics. ( Zhang Meifang, 2005) (Huang Guowen, 2006)<br /> Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). （Lv Jun，2002）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Subsequently, Lu published ''Constructing The Linguistic Basis of Translation Studies'' (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)<br /> <br /> Subsequently, Lv published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new perspective for the study of the construction of translation studies and promoted the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.(Li Zhenguo ,2017)<br /> <br /> Yi Jing published his doctoral thesis ''On The Construction of Translation Studies'' (2009), which systematically and objectively sorted out the construction of translation studies. Kong X<br /> iangli's thesis ''On The Construction of Translation Studies'' in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.(Yi Jing, 2009)<br /> <br /> Yi Jing published his doctoral thesis On The Construction of Translation Studies (2009), which systematically and objectively sorted out the development of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies. (Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. (Zhang Boran,2008) (Yi Jing,2012) <br /> <br /> Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. (Zhao Wenting,2016)<br /> <br /> <br /> Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.(Zou Bing and Mu Lei, 2020) <br /> <br /> Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple approaches of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation. (Zou Bing and Mu Lei, 2020) --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in ''Translation View in Cognitive Linguistics'' proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition.(Wang Yin,2017)<br /> <br /> In recent years, translation studies have developed rapidly. With the rising of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precedes translation, and translation is also the result of experience and cognition. (Wang Yin,2017)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Later, many scholars have studied the relationship between cognitive linguistics and translation.Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.(Fan Xiangtao and Lu Bixiao , 2019)<br /> <br /> Later, many scholars have studied the relationship between cognitive linguistics and translation. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western translation studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward west, and there is still a great space for future research on cognitive translation. (Fan Xiangtao and Lu Bixiao , 2019)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)<br /> <br /> Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)<br /> <br /> Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies of the researches. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.<br /> <br /> From the above literature review, it can be seen that since the last century, from the emergence of the awareness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research. ( quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> ==='''3.The Construction of Translatology '''===<br /> <br /> In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.（Yang Zijian，1993）<br /> <br /> In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies. ( quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> '''3.1Translation and Translatology'''<br /> <br /> &quot;Translation&quot; and &quot;translatology&quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)<br /> <br /> &quot;Translation&quot; and &quot;translatology&quot; are two distinct but often be confused. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definitions of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &quot;translatology&quot; is used to refer to translation studies.&quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&quot;.（Liu Zhongde，1995）<br /> <br /> In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &quot;translatology&quot; is also used to refer to translation studies.&quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the rules of bilingual transformation in translation, and a basic science of the law and method of translation thinking&quot;.（Liu Zhongde，1995） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.( Kong Xiangli,2009)<br /> <br /> Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic, literature, philosophy etc. ( Kong Xiangli,2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> '''3.2 Three Stages of Translatology'''<br /> <br /> Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies. (Liu Zhongde,1989)<br /> <br /> Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline and to the rapid development of translation studies. (Liu Zhongde,1989)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> '''3.2.1 Early translation practice'''<br /> <br /> Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.(Yi Jing,2009)<br /> <br /> Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translator appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei ect. (Yi Jing,2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)<br /> <br /> The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated texts. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> '''3.2.2 The awareness of an academic discipline'''<br /> <br /> '''3.2.2 The awareness of an independent academic discipline'''--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &quot;translation must become an independent discipline&quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.(Tan Zaixi, 1987 )<br /> <br /> Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &quot;translation must become an independent discipline&quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of an independent discipline and proposed a classification of the research field. Nida and Willss also argued that translation is a science, not a merely a technical activity. (Tan Zaixi, 1987 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Such a group of people also appeared in modern China. Lin Yutang used the word &quot;translation studies&quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）<br /> <br /> Such a group of people also appeared the independence of translation in modern China. Lin Yutang used the word &quot;translation studies&quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, many famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> '''3.2.3 The rapid development stage of translation studies'''<br /> <br /> Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018)<br /> <br /> Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies have shown a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018) --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.（Wikipedia）<br /> <br /> Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its research field, and this trend may be expected to continue.（Wikipedia）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> ==='''4.The Influence of Linguistics on the Construction of Translatology'''===<br /> <br /> For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.(Zou Bin, Mu Lei, 2020 )<br /> <br /> For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation by early linguists; second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies. (Zou Bin, Mu Lei, 2020 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> 4.1 Contributions of early linguists to translation<br /> <br /> As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )<br /> <br /> As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists began to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology were linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &quot;signifier&quot; and &quot;signified&quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. (Yi Jing, 2009 ) <br /> <br /> Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）<br /> <br /> These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )<br /> <br /> These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their researches inspired later scholars to continue to explore the value of translation. However, their contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> 4.2 Translation studies based on linguistic theory<br /> <br /> In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.(Zou Bin, Mu Lei,2020 )<br /> <br /> In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, systematic-functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies. (Zou Bin, Mu Lei,2020 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> 4.2.1 The influence of Structuralist linguistics<br /> <br /> Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &quot;pure linguistic forms&quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.(Lvjun，2004)<br /> <br /> Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists took Saussure's theory as the theoretical foundation and regarded linguistic units as the research object to analyze &quot;pure linguistic forms&quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States. With the promotion of structural linguistics, translators begin to conduct translation studies with the assistance of structural linguistics.(Lvjun，2004)<br /> --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &quot;the science of translation&quot; and &quot;dynamic equivalence/Functional equivalence&quot;. Nida 's translation theory has had a great influence in the West and China. ( Yi Jing, 2009)<br /> <br /> Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts that are &quot;the science of translation&quot; and &quot;dynamic equivalence/Functional equivalence&quot;. Nida 's translation theory has exerted a great influence in the West and China. ( Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &quot;six-level equivalence theory&quot; .(Yi Jing,2012)<br /> <br /> Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.（Zou Bin,Mu Lei,2020)<br /> <br /> Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural context of language.（Zou Bin,Mu Lei,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> 4.2.2 The influence of discourse linguistics<br /> <br /> For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002）<br /> <br /> For a long time, the theory of structural linguistics has been the focus of translation studies, but with the development of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics.(Yi Jing, 2009 )<br /> <br /> Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics theory. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics. (Yi Jing, 2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）<br /> <br /> 4.2.3 The influence of contemporary linguistics<br /> <br /> As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）<br /> <br /> As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.(Liao Qiyi， 2000)<br /> <br /> Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and materials for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool and new research perspectives for translation studies and provides great convenience for translation studies. ( Liao Qiyi，2000)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> 4.3 The experience of the construction of linguistics<br /> <br /> In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.(Kong Xiangli，2009 )<br /> <br /> In the 19th century, linguistics began to acquire discipline autonomy. The publication of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value. (Kong Xiangli，2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> 4.4.1 Discipline development<br /> <br /> Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.（Kong Xiangli，2009）<br /> <br /> Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is quite similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories. (Zou Bin, Mu Lei,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.(Kong Xiangli，2009 )<br /> <br /> The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, publishing cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge. (Kong Xiangli，2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)<br /> <br /> 4.4.2 Discipline structure<br /> <br /> Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.(Yang Zijian,1993)<br /> <br /> Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good example. (Yang Zijian,1993)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:51, 19 December 2020 (UTC)<br /> <br /> From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）<br /> <br /> From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study. Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:51, 19 December 2020 (UTC)<br /> <br /> 4.4.3 Development Trend of discipline<br /> <br /> Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.<br /> In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）<br /> <br /> Both linguistics and translatology are interdisciplinary subjects that can be learned from other related disciplines. Translation studies and linguistics can also learn from each other and develop together. In the process of development, linguistics has absorbed the experience of many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., formed many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:51, 19 December 2020 (UTC)<br /> <br /> ==='''5.Conclusion'''===<br /> Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. ( Zou Bin, Mu Lei,2020)<br /> <br /> Linguistics has gone through several stages of development, and it has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics provided experience for the construction of translation studies. ( Zou Bin, Mu Lei,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:55, 19 December 2020 (UTC)<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&quot; Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.(Liu Miqing, 1989)<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &quot;Translators should only take other disciplines for reference, not grafting.&quot; Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely. ( (Liu Miqing, 1989))--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:55, 19 December 2020 (UTC)<br /> <br /> ==='''References'''===<br /> Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.<br /> <br /> Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.<br /> <br /> Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''<br /> <br /> Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.<br /> <br /> Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. ''当代语言学''[Modern Linguistic] 3-5.<br /> <br /> Fang Xiangtao,Lu Bixiao. (2019). 范祥涛,陆碧霄.认知翻译研究的观念和方法. [Concepts and Methods of Cognitive Translation Studies]. ''外语教学''[Foreign Language Education] 8-12.<br /> <br /> Huang Guowen. 黄国文. (2006). 关于翻译研究语言学探索的几个问题. [Questions about the Linguistic Exploration of Translation Studies]. ''外语艺术教育研究''[Educational Research on Foreign Languages &amp; Arts] 35-41.<br /> <br /> Kong Xiangli. 孔祥立. (2009). 中国翻译学学科建设论. [On the subject construction of Chinese Translation Studies]. 上海外国语大学[Shanghai International Studies University].<br /> <br /> Li Yan, Feng Huali. 李艳,冯华丽.(2020) 国内基于语料库的翻译研究二十年综述(1999—2018). [A review of 20 Years of Corpus-based Translation Studies in China(1999—2018)]. ''成都理工大学学报(社会科学版)'' [Journal of Chengdu University of Technology(Social Science) ]105-110.<br /> <br /> Liu Miqing. 刘宓庆. (1989). 西方翻译理论概评. [An Overview of Western Translation Theory]. ''中国翻译''[Chinese Translators Journal] 2-6.<br /> <br /> Liu Zhongde. 刘重德. (1998). 关于建立翻译学的一些看法. [Views on the Establishment of Translation Studies]. ''外国语(上海外国语大学学报)'' [Foreign Languages (Journal of Shanghai International Studies University)] 27-31+60.<br /> <br /> Lv Jun. 吕俊. (2004). 建构翻译学的语言学基础. [The Linguistic Basis of Translation studies]. ''外语学刊''[Foreign Language Research] 96-101.<br /> <br /> Liao Qiyi. 廖七一. (2000). 语料库与翻译研究[Corpus and Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 380-384.<br /> <br /> O Aiping. 欧爱萍.(2012). 浅谈语言学对翻译学科的影响. [A Brief Discussion on the influence of Linguistics on translation]. ''中外企业家''[Chinese and Foreign Entrepreneurs] 179-180.<br /> <br /> Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.<br /> <br /> Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.<br /> <br /> Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.<br /> <br /> Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.<br /> <br /> Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.<br /> <br /> Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].<br /> <br /> Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.<br /> <br /> Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.<br /> <br /> Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.<br /> <br /> Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.<br /> <br /> Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.<br /> <br /> ==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658==<br /> <br /> ==='''Abstract'''===<br /> <br /> With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.<br /> <br /> ==='''Key words'''===<br /> <br /> Translation Studies, translation education, translation talents<br /> <br /> ==='''题目'''===<br /> <br /> 对中国翻译学学习的反思<br /> <br /> ==='''摘要'''===<br /> <br /> 随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析学习翻译学科目前存在的问题，并提出相关的建议。<br /> <br /> 随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析翻译学科学习目前存在的问题，并提出相应的建议。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:36, 19 December 2020 (UTC)<br /> <br /> ==='''关键词'''=== <br /> <br /> 翻译学，翻译教育，翻译人才<br /> <br /> <br /> ==='''1. Introduction'''===<br /> <br /> 1.1. The Connotation of Translation Studies<br /> <br /> Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &quot;''The Name and Nature of Translation Studies''&quot;, is a basic statement of translation studies: it calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) <br /> <br /> Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, including comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)<br /> <br /> Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation Studies can examine the practice and background of translating professional texts (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. <br /> <br /> Learning these contents enables students to apply their theoretical understanding to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually include the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills needed to solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.<br /> <br /> 1.1. The Connotation of Translation Studies<br /> Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &quot;The Name and Nature of Translation Studies&quot;, is a basic statement of translation studies，which calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) <br /> <br /> Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, such as comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)<br /> <br /> Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation studies can examine the practices and context of translating texts that are specialist (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. <br /> <br /> Learning these knowledge enables students to apply their understanding of theories to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually includes the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills that are necessary elements solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:49, 19 December 2020 (UTC)<br /> <br /> <br /> 1.2. The Significance of Translation Studies<br /> <br /> With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. At the same time, as today's multicultural and multilingual society requires effective, efficient and understanding communication between languages and cultures, translation skills have become more and more important and desirable. <br /> <br /> As a science, Translation Studies has always had its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. <br /> <br /> Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can understand the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. This is also the necessity for translators to learn Translation Studies.(Chu Xizhi 2009)<br /> <br /> 1.2. The Significance of Translation Studies<br /> <br /> With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. With the requirement of effective, efficient and understanding communication between languages and cultures in today's multicultural and multilingual society, translation skills have become more and more important and desirable. <br /> <br /> As a science, Translation Studies always has its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. <br /> <br /> Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can have a good understanding about the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. It is necessary for translators to learn Translation Studies.(Chu Xizhi 2009)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:45, 19 December 2020 (UTC)<br /> <br /> ==='''2. The Development Process of Translation Studies in China'''===<br /> <br /> Translation activities has appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, the flourishing period of Translation Studies.<br /> <br /> Translation activities appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, and the flourishing period of Translation Studies.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)<br /> <br /> 2.1. The Exploration Period of Translation Studies <br /> <br /> In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, Almost no. What we have are some translation regulations and fragments of experience for temporary reference.&quot; He clearly called for the establishment of &quot;a complete translation theory system&quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. <br /> <br /> In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, almost no. What we have are some translation regulations and fragments of experience for temporary reference.&quot; He clearly called for the establishment of &quot;a complete translation theory system&quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. <br /> <br /> The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared in history.<br /> <br /> The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared on the scene.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)<br /> <br /> However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have become increasingly single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc.<br /> <br /> However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have been single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)<br /> <br /> At that time, because a large number of people who understand foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to strengthen foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under foreign language and literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)<br /> <br /> At that time, because a large number of people who master foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to improve foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under Foreign Language and Literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)<br /> <br /> 2.2. The Development Period of Translation Studies<br /> <br /> At the beginning of this period, it was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. <br /> <br /> At the beginning of this period, translation studies was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)<br /> <br /> At this stage, some masters and doctors in translation studies joined the construction team translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation desperately. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of &quot;''China Translator''&quot; in 2004 come to congratulate.(Luo Feng 2011)<br /> <br /> At this stage, some masters and doctors in translation studies joined the team to construct translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation in succession. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of “China Translator&quot; in 2004 come to congratulate.(Luo Feng 2011)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)<br /> <br /> Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.Translation research ideas, methods, space and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020) <br /> <br /> Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.Translation research ideas, methods, field and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC) <br /> <br /> 2.3. The Flourishing Period of Translation Studies<br /> <br /> In 2011, the Ministry of Education adjusted the discipline catalog and listed &quot;Translation Studies&quot; as a second-level subject under the first-level discipline of &quot;Foreign Languages and Literature&quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction.(Huang Zhongqian, Zhang Xiao 2020) <br /> <br /> In the flourishing period, the construction of translation disciplines and the development of translation majors in China have shown a new look. Many levels have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training. <br /> <br /> In the flourishing period, the construction of translation disciplines and the development of translation majors in China have shown a new look. Translation studies have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC) <br /> <br /> There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.<br /> <br /> There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.（quotation missing）<br /> <br /> ==='''3. Challenges of Learning Translation Studies in China'''===<br /> <br /> The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. China's translation discipline has now entered a new stage, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.<br /> <br /> The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. Translation discipline in China has entered a new stage now, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)<br /> <br /> 3.1. Translation Education<br /> <br /> With the establishment of the status of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the training of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018） <br /> <br /> With the establishment of the autonomy of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the cultivation of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018） --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)<br /> <br /> However, China's translation education started and developed after the reform and opening up, is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, and systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.<br /> <br /> However, China's translation education started and developed after the reform and opening up, so it is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction history of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, so systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)<br /> <br /> 3.1.1. Orientation of the Cultivation of Translation Talents<br /> <br /> At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to the unclear concept of the cultivation of translation talents. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation professional teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)<br /> <br /> At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to bluring and confusing educational goal of translation major. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation major teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)<br /> <br /> In addition,due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)<br /> <br /> In addition,due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them are lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)<br /> <br /> 3.1.2. Faculty Resources<br /> <br /> The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. <br /> <br /> The problem of translation teachers has always been a bottleneck problem that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data show that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &quot;''National Standard of Part-time Teacher in MTI Education'' &quot;. (Zhong Weihe 2019) <br /> <br /> The problem of translation teachers has always been a bottleneck that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data shows that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &quot;''National Standard of Part-time Teacher in MTI Education'' &quot;. (Zhong Weihe 2019)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC) <br /> <br /> In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.(Chen Cheng 2020)<br /> <br /> 3.1.3. Teaching method<br /> <br /> Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2018) <br /> <br /> This kind of teaching method that ignores student autonomy is entirely a teacher-centered teaching model, which will place too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.<br /> <br /> This kinds of teaching method that is entirely a teacher-centered teaching model ignore student autonomy, which will pay too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)<br /> <br /> 3.1.4 Translation Teaching Research<br /> <br /> The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is rare.（Ou Yonghua 2019） <br /> <br /> The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is inconsiderable.（Ou Yonghua 2019） --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)<br /> <br /> Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, combining actual translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)<br /> <br /> Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, according to the actual situation of translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but do not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)<br /> <br /> 3.2. Students<br /> <br /> The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.<br /> <br /> The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, so it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.<br /> <br /> 3.2.1. Low level of commitment to translation learning<br /> <br /> Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. <br /> <br /> Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. (Wang Na 2020)<br /> <br /> As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between the word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.<br /> <br /> As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)<br /> <br /> 3.2.2. Insufficient background knowledge <br /> <br /> Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not grasp sufficient background information. <br /> <br /> Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not gain sufficient background information. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)<br /> <br /> With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.(Xie Zhentian, 2015) <br /> <br /> 3.2.3. Neglect of theoretical knowledge<br /> <br /> At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）<br /> <br /> At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless to some extent or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)<br /> <br /> ==='''4. Suggestions for the Learning of Translation Studies'''===<br /> <br /> In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved according to the development of times. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote the development of Translation Studies in China.<br /> <br /> In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved over time. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote Translation Studies in China.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)<br /> <br /> 4.1. Translation Education<br /> <br /> 4.1.1. Improve Teaching Mode<br /> <br /> The teaching model is an important basic guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation or current affairs. (Wang Baigula 2018)<br /> <br /> The teaching model is an important guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation. (Wang Baigula 2018)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)<br /> <br /> Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to make something new. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)<br /> <br /> Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to innovate. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)<br /> <br /> The objective teaching method is a teaching mode that can be introduced in translation teaching. This type of mode attaches great importance to the construction of learning environment and the value of teachers' guidance to students. This is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019) <br /> <br /> The objective teaching method is a teaching mode that can be introduced in translation teaching,which attaches great importance to the construction of learning environment and the value of teachers' guidance to students. It is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019) --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)<br /> <br /> 4.1.2. Strengthen Faculty Force<br /> <br /> Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. <br /> <br /> Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and first-line translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） <br /> <br /> Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)<br /> <br /> Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)<br /> <br /> 4.1.3. Broaden the academic vision of translation<br /> <br /> Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of roadmap for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)<br /> <br /> Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and to reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of landmark for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)<br /> <br /> The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary and integration, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)<br /> <br /> The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)<br /> <br /> 4.2. Students <br /> <br /> The quality of translation talents plays a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.<br /> <br /> Translation talents play a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)<br /> <br /> 4.2.1. Expanding knowledge<br /> <br /> Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future, in addition to having a solid foundation in language ability, they should also take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009) <br /> <br /> Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future.Not only should they have a solid foundation in language ability, but also they should take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009) --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)<br /> <br /> A very good way to expand their knowledge is to improve their search ability. Search ability, specifically, refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students is urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)<br /> <br /> A very good way to expand their knowledge is to improve their search ability. Search ability refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students are urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)<br /> <br /> 4.2.2. Emphasize theory and practice more<br /> <br /> Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics, not only the translation skills and theories，but also practice more. Theories that are out of practice cannot keep up with the development of the times. <br /> <br /> Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics and the skills and theories of translation，but also practice more. Theories that are out of practice cannot keep up with the development of the times. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)<br /> <br /> Students must spend enough time in practicing. They can go to the front line of production or go deep into all aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.(Lin lin 2016)<br /> <br /> ==='''5.Conclusion'''===<br /> <br /> This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the concept of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Those engaged in translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and so on. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. <br /> <br /> This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the objection of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Therefore, translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and professional knowledge. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:48, 19 December 2020 (UTC)<br /> <br /> From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.<br /> <br /> President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies were not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)<br /> <br /> President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies are still not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:48, 19 December 2020 (UTC)<br /> <br /> Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, draw on the latest foreign translation theories, combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.<br /> <br /> Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, learn from the latest foreign translation theories, and combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hope that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:48, 19 December 2020 (UTC)<br /> <br /> ==='''References'''===<br /> Holmes, James S. (1972). 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(2020).高校英语翻译课程教学现状及改革研究.[ Research on the Teaching Status and Reform of College English Translation Course].淮南职业技术学院学报[''Journal of Huainan Vocational &amp;Technology''] 97-98.<br /> <br /> Chu Xizhi.褚喜之(2009).翻译理论在翻译教学中的重要性.[The Importance of Translation Theory in Translation Teaching].经济研究导刊[''Economic Research Guide'']237-238.<br /> <br /> Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].<br /> <br /> Huang Youyi.黄友义.(2018).服务改革开放40年,翻译实践与翻译教育迎来转型发展的新时代.[Servicing Reform and Opening for 40 Years, Translation Practice and Translation Education Usher in a New Era of Transformation and Development].中国翻译[''Chinese Translators Journal'']5-8.<br /> <br /> Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.<br /> <br /> Jiang Feifei.姜菲菲.(2019).中国文化走出去背景下对翻译学科的综述. [A Summary of Translation Studies from the Background of Outputting Chinese Culture].校园英语[''English Campus'']7-8. <br /> <br /> Lan Hongjun.蓝红军.(2018)从学科自觉到理论建构:中国译学理论研究(1987-2017). [Theoretically Oriented Translation Studies in China: 1987 - 2017].中国翻译[''Chinese Translators Journal'']7-16<br /> <br /> Linlin.林琳.(2016).英语文学翻译学习现状及改善措施.[ The Status Quo and Improvement Measures of English Literature Translation Learning].西部素质教育[''Western China Quality Education''] 65.<br /> <br /> Luo Feng.罗峰.(2011).从翻译学学科建设看翻译学在中国的发展.[On the Development of Translation Studies As A Discipline in China].琼州学院学报[''Journal of Qiongzhou University]''115-116.<br /> <br /> Mu Lei, Li Xixi.穆雷, 李希希.(2019).中国翻译教育研究:现状与未来.[ Research on Translation Education in China: Status Quo and Future] .外语界[''Foreign Language World''] 24-32.<br /> <br /> Ou Yonghua.(2019).新时期中国翻译教学研究思考概述. [An Overview of Researches on Chinese Translation Teaching in the New Era].课程教育研究[''Course Education Research''] 13.<br /> <br /> Xi Jinping.习近平.(2016).在哲学社会科学工作座谈会上的讲话.[ Speech at the Symposium on Philosophy and Social Sciences].新华网[xinhuanet].<br /> <br /> Xie Zhentian.谢天振.(2015).翻译巨变与翻译的重新定位与定义——从2015年国际翻译日主题谈起.[ Great Changes in Translation and Repositioning and Definition of Translation——Starting from the theme of the International Translation Day in 2015].东方翻译[''East Journal of Translation''] 4-8. <br /> <br /> Xu Jun, Mu Lei. 许钧, 穆雷.(2009).中国翻译学研究30年 (1978 -2007).[30 years of Chinese Translation Studies (1978 -2007)].外国语[''Journal of Foreign Languages'']77-87.<br /> <br /> Wang Baigula.王白古拉.(2018).中国翻译教学现状与复合型翻译人才培养. [The Status Quo of Translation Teaching in China and the cultivation of Interdisciplinary Translators].文存阅刊[''Wen Cun Journal''] 87.<br /> <br /> Wang Na.王娜. (2020).MTI在校生搜索能力不足成因分析. [An Analysis of the Causes of Insufficient Searching Ability of MTI Students].海外英语[''Overseas English''] 194-195.<br /> <br /> Zhong Weihe.仲伟合.(2019).改革开放40年我国翻译专业教育:成就、挑战与发展. [China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.<br /> <br /> Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.<br /> <br /> ==The influence of translator's cultural identity on translation 周玉娟 Zhou Yujuan== <br /> &lt;center&gt;周玉娟 Zhou Yujuan 202020080674 亚非语言文学波斯语方向 .&lt;/center&gt;<br /> <br /> &lt;center&gt;The influence of translator's cultural identity on translation.&lt;/center&gt;<br /> <br /> ===Abstract===<br /> Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.<br /> <br /> ===Keywords===<br /> translation; translator; cultural identity; Shakespeare's plays<br /> <br /> ===题目===<br /> 译者文化身份对翻译的影响<br /> <br /> ===摘要===<br /> 梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。<br /> <br /> ===关键词===<br /> 翻译；译者；文化身份；莎士比亚剧<br /> <br /> ===Introduction===<br /> Translating a work is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important active role in both translating the content and interpreting it, and the translator is the first person who is in direct contact with the original text.<br /> <br /> Translating a work that is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important role in both translating and interpreting, and the translator is the first person who is in direct contact with the original text.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 14:49, 18 December 2020 (UTC)<br /> <br /> <br /> Benjamin, the famous German literary critic, once said : &quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &quot;cultural identity&quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)<br /> <br /> There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.<br /> <br /> === Introduction to the identity of the translator===<br /> Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.<br /> <br /> Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.<br /> <br /> (While your first quote here may be intended to explain to the reader where the concept of cultural identity came from, I suggest you explain the meaning of the concept proposed by the cited author.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> &quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&quot; (Xi Yongji. 2007:245)<br /> <br /> ====Zhu Shenghao's Cultural Identity====<br /> Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.<br /> <br /> In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.<br /> <br /> Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on naturalization strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.<br /> <br /> （Be clear about what exactly domestication or foreignization in your text means and who defines it. Use word “domestication” instead of “naturalization”in general.）--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> ====Liang Shiqiu's Cultural Identity====<br /> Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.<br /> <br /> However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &quot;All civilization is the original creation of a very few geniuses&quot;, &quot;literature and art are the original creation of a few geniuses&quot;, &quot;there is no literature and art for the majority, and literature and art are not for the majority &quot;. (Liang Shiqiu: R.O.C. 23) &quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&quot; <br /> <br /> However, it is worth mentioning that Liang believed that literature is a creation of genius. Liang repeatedly said, &quot;All civilization is the original creation of a very few geniuses&quot;, &quot;literature and art are the original creation of a few geniuses&quot;, &quot;there is no literature and art for the majority, and literature and art are not for the majority &quot;. (Liang Shiqiu: R.O.C. 23) &quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&quot; --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12) <br /> <br /> We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &quot;genius literature&quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese literary world. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.<br /> <br /> We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &quot;genius literature&quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese translation. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> ====Foreignization and domestication Strategies====<br /> According to Venuti, domestication is &quot;bringing the original author into the desired language and culture of the translation&quot;, while dissimilation is &quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&quot; (Venuti, 1995:20). (Venuti, 1995:20)<br /> <br /> According to Venuti, domestication is &quot;bringing the original author into the desired language and culture of the translation&quot;, while dissimilation is &quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&quot; (Venuti, 1995:20). --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.<br /> <br /> The method of Foreignization is: &quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.<br /> (Here you used foreignization ,but above the paper,you use alienation,The specific concepts of context should be unified.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> ===The cultural identity of translators in translation===<br /> First, the translator is the second pair of eyes of the reader. &quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.<br /> <br /> Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.<br /> (Here world literature is not very accurate, maybe you can say world translation)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> ====In terms of the original intention of translation====<br /> The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &quot;interest&quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao himself said, &quot;I love Shakespeare's plays so much and so only that I have tried to read the whole text at least ten times from the beginning to the end. ......&quot; Zhu's love for Shakespeare is so strong that &quot;He was so passionate about Shakespeare that he would not stop reading Shakespeare, not eating it. <br /> <br /> The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &quot;interest&quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao said, &quot;I love Shakespeare's plays so much so that I have tried to read the whole text at least ten times from the beginning to the end. ......&quot; Zhu's preference for Shakespeare is so obvious that &quot;He was so passionate about Shakespeare that he would not stop reading and studying Shakespeare assiduously.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.<br /> <br /> Liang Shiqiu believes that there is a distinction between elegant and vulgar literature, genius is to appreciate literature, the general public to read are popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &quot;the highest art only a few people can understand ......, literature and art is not the majority.&quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &quot;literature is created by genius&quot;.<br /> <br /> Liang Shiqiu believed that there is a distinction between elegant and vulgar literature, genius always appreciate literature, the general public usually read popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &quot;only a few people can understand the highest art ......, literature and art is not for the majority.&quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &quot;literature is created by genius&quot;.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> When he studied at Harvard University, he took the course &quot;Literary Criticism after the Sixteenth Century&quot; by the American neoclassicist Byrd Byrd, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &quot;preserve the most authentic things&quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &quot;hard translations&quot; and &quot;bent translations&quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)<br /> (Here maybe you want to say Irving Babbitt not Byrd, plz check it again)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> ====In terms of the content of the translation (taking the translation of Shakespeare as an example)====<br /> Zhu Shenghao stated at the beginning of his translation: &quot;My aim in translating this book is, first, to maintain the charm of the original work to the greatest extent possible, and then to consider the second point if it is not feasible, that is, to convey faithfully the meaning and feelings of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao's translation of Sha plays more attention to the performance function of drama.<br /> <br /> Zhu Shenghao stated at the beginning of his translation: &quot;In translating this book, my aim is to maintain the charm of the original work as much as possible, and then to consider the second point if it is not feasible, that is, to convey the meaning and feelings faithfully of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao paid more attention to the performance function of drama in translation of Shakespeare’s plays.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)<br /> <br /> For example: ( the translation of Zhu Shenghao)<br /> <br /> EGEUS: Stand forth，Demetrius． My noble lord，<br /> 伊吉斯:走上前来，狄米特律斯。殿下，这个人，<br /> <br /> This man hath my consent to marry her．<br /> 是我答应把我女儿嫁给他的<br /> <br /> Stand forth，Lysander．<br /> 走上前来，拉山德。<br /> <br /> And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）<br /> 殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）<br /> <br /> In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &quot;purified&quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. <br /> For example, his translation. <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)<br /> <br /> 拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!<br /> 否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。<br /> <br /> Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &quot;faithfulness and fidelity&quot;. The style of &quot;faith&quot; and &quot;faithfulness&quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.<br /> <br /> First: Stay true to the original text and try not to delete or subtract from it.For example:<br /> <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)<br /> <br /> Translation of Liang Shiqiu:<br /> <br /> 赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，<br /> <br /> 否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。<br /> <br /> HELENA She was a vixen when she went toschool: <br /> <br /> And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)<br /> <br /> 海 上学时她就是个狐狸精。<br /> <br /> 她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。<br /> <br /> Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &quot;Shakespearean&quot;. &quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&quot;. (Liang Shiqiu. 1966) <br /> Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. <br /> <br /> For example, a fragment of Liang Shiqiu's translation of Hamlet.<br /> <br /> Queen. There is a willow grows aslant a brook,<br /> That shows his hoar leaves in the glassy stream;<br /> There with fantastic garlands did she come,<br /> Of crow-flowers, nettles, daisies, and long purples,<br /> That liberal shepherds give a grosser name.<br /> But our cold maids do dead man’s fingers call them:<br /> There, on the pendent boughs her coronet weeds<br /> Clambering to hang ,an envious sliver broke,<br /> When down her weedy trophies and herself<br /> Fell in the weeping brook. Her clothes spread wide;<br /> And, mermaid-like, awhile they bore her up;<br /> Which time she chanted snatches of old tunes; As one<br /> incapable of her own distress,<br /> Or like a creature native and indu’d<br /> Unto that element: but long it could not be<br /> Till that her garments ,heavy with her drink,<br /> Pull’d the poor wretch from her melodious lay<br /> To muddy death.<br /> （shakespeare, hamlet, act Ⅳ, scenceⅦ）<br /> <br /> The translation of Liang Shiqiu：<br /> (You can say Liang’s version :)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)<br /> 河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。<br /> <br /> ===Conclusion===<br /> The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. <br /> <br /> For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. <br /> <br /> By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.<br /> <br /> ===References===<br /> <br /> Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．<br /> <br /> Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)<br /> <br /> Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary]. 台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.<br /> <br /> Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.<br /> <br /> Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128.. <br /> <br /> Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.<br /> <br /> Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.<br /> <br /> Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．<br /> <br /> Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．<br /> <br /> Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004<br /> <br /> Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.<br /> <br /> Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001<br /> <br /> Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．<br /> <br /> Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.<br /> <br /> ==Descriptive translation studies 曹润鑫 Cao Runxin==<br /> <br /> ===Abstract===<br /> The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Toury's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.<br /> <br /> ===Key words===<br /> Descriptive translation studies; Translation studies<br /> <br /> ===摘要===<br /> 描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍<br /> <br /> ===关键字===<br /> 描述翻译学；翻译研究<br /> <br /> ===Introduction===<br /> Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &quot;faithfulness&quot; and &quot;equivalence&quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.<br /> <br /> Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &quot;faithfulness&quot; and &quot;equivalence&quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &quot;cultural shift&quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &quot;faithful&quot; and &quot;reciprocal&quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.<br /> <br /> Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &quot;cultural shift&quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &quot;faithful&quot; and &quot;reciprocal&quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &quot;how translation should be&quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.<br /> <br /> In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &quot;how translation should be&quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> ===Toury and ''Descriptive translation''===<br /> The concept of &quot;descriptive translation&quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &quot;The Name and Reality of Translation Studies&quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Toury also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.<br /> <br /> The concept of &quot;descriptive translation&quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &quot;The Name and Reality of Translation Studies&quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> Based on Evan Zohar's multisystem theory and guided by the translations, Toury proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.<br /> <br /> Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> In Descriptive Translation and Beyond, Toury describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&quot;. [3]<br /> <br /> In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&quot;. [3]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> According to Toury, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &quot;(more) objective&quot; norms, while the latter are &quot;(more) subjective&quot; i.e. &quot;less objective&quot;. The concept of the This concept is very important in its theoretical system.<br /> <br /> According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &quot;(more) objective&quot; norms, while the latter are &quot;(more) subjective&quot; i.e. &quot;less objective&quot;. The concept of the This concept is very important in its theoretical system.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]<br /> <br /> He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> According to Toury, &quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&quot;. [4] Toury's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.<br /> <br /> According to Tuli, &quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &quot;translations&quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent. &quot;Exoticism&quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &quot;translation tone&quot; in the text. Due to the real existence of &quot;translation cavity&quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &quot;translation cavity&quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.<br /> <br /> Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &quot;translations&quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent. &quot;Exoticism&quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &quot;translation tone&quot; in the text. Due to the real existence of &quot;translation cavity&quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &quot;translation cavity&quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> <br /> Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &quot;credible&quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112<br /> <br /> Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &quot;credible&quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> According to Toury, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Toury concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Toury believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Toury is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Toury has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.<br /> <br /> According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.<br /> <br /> Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> In his study of descriptive translation, Toury emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Toury's early approach was in some sense &quot;meta-prescriptive&quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &quot;translation studies can never be merely descriptive&quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Toury's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.<br /> <br /> In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &quot;meta-prescriptive&quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &quot;translation studies can never be merely descriptive&quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> === Hermanns and ''Translation in Systems''===<br /> The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.<br /> <br /> The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &quot;norm&quot; and Chesterman's &quot;norm&quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.<br /> <br /> Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &quot;norm&quot; and Chesterman's &quot;norm&quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &quot;reciprocity&quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &quot;norm&quot; and introduces the &quot;norm&quot; proposed by Tully and the &quot;norm&quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.<br /> <br /> The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &quot;reciprocity&quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &quot;norm&quot; and introduces the &quot;norm&quot; proposed by Tully and the &quot;norm&quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> Scholars who study descriptive translation have proposed that literature should be regarded as &quot;a complex and dynamic system&quot;, and that literary translation studies should &quot;adopt a descriptive, target-language-based, functional and systematic research approach&quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.<br /> <br /> Scholars who study descriptive translation have proposed that literature should be regarded as &quot;a complex and dynamic system&quot;, and that literary translation studies should &quot;adopt a descriptive, target-language-based, functional and systematic research approach&quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> ===Conclusion===<br /> Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.<br /> <br /> Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)<br /> <br /> ===References===<br /> Li Hongman 李红满. (2002). 论当代西方翻译研究范式的转变[J]. [On the Paradigm Shift in Contemporary Western Translation Studies]. 外语与翻译. [Foreign Languages and Translations]. <br /> <br /> Zhang Meifang 张美芳. (2000). 翻译学的目标与结构——霍姆斯的译学构想介评[J]. [The Objectives and Structure of Translation Studies - A Review of Holmes' Vision of Translation Studies]. 中国翻译. [China Traslation].<br /> <br /> Toury Gideon. (2001). ''Descriptive Translation Studies and Beyond''[M]. Shanghai:Shanghai Foreign Language Education Press.<br /> <br /> Lin Kenan 林克难. (2001). 翻译研究:从规范走向描写[J]. [Translation Studies: From Specification to Description]. 中国翻译. [China Traslation].<br /> <br /> Vermeer Hans J. (1996). A Skopos Theory of Translation[M]. Heidellburg:TEXT-con.<br /> <br /> Venuti Lawrence. (1995). The Translator’s Invisibility[M]. A History of Transla-tion.London&amp;New York:Routledge.<br /> <br /> Snell-Homby Mary. (1995). Translation Studies.AnIntegrated Approach[M]. Re-vised ed.Amsterdam:John Benjamins.<br /> <br /> Hemans Theo (1985). ed.The manipulation of Literature[M]. London&amp;Sydney:Croom Helm.<br /> <br /> Han Ziman, Liu Fang 韩子满, 刘芳. （2005）. 描述翻译研究的成就与不足[J]. [Describe the achievements and shortcomings of translation studies]. 外语学刊. [Journal of Foreign Languages].<br /> <br /> Xie Tianzhen 谢天振. (2003). 翻译研究新视野[M]. [New Horizons in Translation Studies]. 青岛:青岛出版社. [Qingdao:Qingdao Publishing House].<br /> <br /> ==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==<br /> <br /> &lt;center&gt;肖伊宁 Xiao Yining 202020080655&lt;/center&gt;<br /> <br /> &lt;center&gt;肖伊宁 Xiao Yining 202020080655 亚非语言文学&lt;/center&gt;--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ===Abstract:=== <br /> This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and deeply understand the status of descriptive translation studies.<br /> <br /> This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and helps the readers to understand deeply the status of descriptive translation studies.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ===摘要：===<br /> 本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，深刻理解描写性翻译研究的地位。<br /> <br /> 本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，并深刻理解描写性翻译研究的地位。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ===Key words:===<br /> descriptive translation studies; normative translation studies; limitation; necessity; relationship.<br /> <br /> ===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.<br /> <br /> ===Chapter 1 Introduction===<br /> <br /> Translation has a history of more than 2000 years. In the long-term and varied translation activities of translation, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）<br /> <br /> Translation has a history of more than 2000 years. In the long-term and varied translation activities, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives have contributed to the formation of diverse translation research methods.（Liao Qiyi 2002，5）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &quot;faithfulness, expressiveness and elegance&quot;, Lu Xun's &quot;rahter to be faithful than smooth&quot; and Lin Yutang's &quot;faithfulness smoothness elegance&quot;. （Liao Qiyi 2002，6）<br /> <br /> Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of tranlation experience. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &quot;faithfulness, expressiveness and elegance&quot;, Lu Xun's &quot;rahter to be faithful than smooth&quot; and Lin Yutang's &quot;faithfulness smoothness elegance&quot;. （Liao Qiyi 2002，6）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) <br /> <br /> In the second half of the 20th century, with the development of linguistics and applied linguistics, the translation study has became more systematic. Some researchers regard translation study as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> However, these translation studies are actually &quot;normative&quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &quot;misleading readers&quot; or &quot;unfaithful to the original work&quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)<br /> <br /> However, these translation studies are actually &quot;normative&quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered as &quot;misleading reader&quot; or &quot;unfaithful to the original work&quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements on translation theories varied all the time. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation activities. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ===Chapter 2 The emergence and development of descriptive translation studies===<br /> <br /> In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.<br /> <br /> In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ====2.1 John MacFarlane====<br /> <br /> In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &quot;ideal&quot; or &quot;real&quot; translation.(Lin Kenan 2001, 44)<br /> <br /> In 1953, John MacFarlane published his paper ''Mode of Translation'' in the Durhram University Journal. In his thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation, just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that there are often different reading methods when reading the same work even at the same time.From this we can infer that we must not believe that there is a unique translated version. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &quot;ideal&quot; or &quot;real&quot; translation.(Lin Kenan 2001, 44)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)<br /> <br /> Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something that it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic. Unfortunately, MacFarlane's views did not attract the attention translation field at that time.(Lin Kenan 2001, 44)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> <br /> ====2.2 Firth====<br /> <br /> Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) <br /> <br /> Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and this concept has produced the traditional distinction between literal translation and free translation. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context. Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ====2.3 James Holmes====<br /> <br /> With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）<br /> <br /> With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> &quot;He divides translation studies into three categories:<br /> (1) Description: to describe the special phenomenon of translation in real life;<br /> (2) Theory: establishing the principle of explaining translation phenomena;<br /> (3) Application: the information obtained from the former two is used in translation practice and translator training.&quot;（Liao Qiyi 2002，54） <br /> <br /> &quot;He divides translation studies into three categories:<br /> (1) Description: to describe the special phenomenon of translation in real life;<br /> (2) Theory: establishing the principle of explaining translation phenomena;<br /> (3) Application: the information obtained from the former two is used in translation practice and translator training.&quot;（Liao Qiyi 2002，54）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. <br /> <br /> He discusses the dialectical relationship among descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&quot;（Liao Qiyi 2002，55）<br /> <br /> For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text. Based on this, a more extensive comparative study was carried out. After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches.&quot; Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, you have to have at least one intuitive theoretical hypothesis to start studying the other two.&quot;（Liao Qiyi 2002，55）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）<br /> <br /> Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. Taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&quot; (Hermans 1985, 14).<br /> <br /> Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &quot;a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&quot; (Hermans 1985, 14).--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.<br /> <br /> However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ====2.4 Polysystem Theory====<br /> <br /> In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &quot;The polysystem（多元体系派） is not satisfied with the achievements made by the translation studies（翻译研究派）. It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &quot;polysystem&quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&quot;（Liao Qiyi 2002, 59）<br /> <br /> In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &quot;The polysystem（多元体系派） is not satisfied with the achievements made by the translation studies（翻译研究派）. It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &quot;polysystem&quot;, which breaks through the boundary between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&quot;（Liao Qiyi 2002, 59）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）<br /> <br /> According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）<br /> <br /> Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ====2.5 Gideon Toury<br /> <br /> Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）<br /> <br /> Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations who are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> <br /> This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）<br /> <br /> This makes him realize that existing source system centered translation theories are not comprehensive, thus makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published in his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description. From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &quot;one to one correspondence&quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）<br /> <br /> Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &quot;one to one correspondence&quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &quot;International Journal of translation studies&quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. <br /> <br /> In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &quot;International Journal of translation studies&quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &quot; (Toury 2012. xii)<br /> <br /> Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications, which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have been often taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &quot; (Toury 2012. xii)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.<br /> <br /> He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ====2.6 Snell-Hornby<br /> <br /> In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. <br /> <br /> In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined，presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &quot;Description&quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)<br /> <br /> Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types. Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &quot;Description&quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ===Chapter 3 The relationship between normative translation studies and descriptive translation studies===<br /> <br /> ====3.1 The value of descriptive translation studies and the limitations of normative translation studies====<br /> <br /> In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.<br /> <br /> In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) <br /> <br /> Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Maria Tymoczko believes that：&quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.<br /> <br /> Maria Tymoczko believes that：&quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) <br /> <br /> Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：<br /> <br /> Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> (1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. <br /> <br /> (1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited by the study of equivalence between texts. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &quot;translation&quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)<br /> <br /> However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &quot;translation&quot;. In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion (translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> (2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &quot;the wrong way of translation&quot;. (Liu Yingkai 1987, 22) <br /> <br /> (2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &quot;a wrong way of translation&quot;. (Liu Yingkai 1987, 22) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &quot;the gain and loss of a work should be measured from the perspective of history&quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) <br /> <br /> The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)'' with Li Yeguang and others' translations, and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &quot;the gain and loss of a work should be measured from the perspective of history&quot;(冯庆华、王昱1998 :56) This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ====3.2 The limitations of descriptive translation studies and the value of normative translation studies====<br /> <br /> First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory has certain progressive significance and reference, it is not perfect.(Liu Zongyan 2008, 201) <br /> <br /> First of all, descriptive translation studies are not perfect yet. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory has certain progressive significance and reference, it is not perfect.(Liu Zongyan 2008, 201) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &quot;detached and purely descriptive attitude.&quot; ( Hermans 1999 , 36) <br /> <br /> Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury believes clearly that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &quot;detached and purely descriptive attitude.&quot; ( Hermans 1999 , 36)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC) <br /> <br /> <br /> This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &quot;meta - prescriptive&quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &quot;translation studies can never be merely descriptive&quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)<br /> <br /> This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &quot;meta - prescriptive&quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &quot;translation studies can never be merely descriptive&quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. <br /> <br /> On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)<br /> <br /> Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ====3.3 The relationship between prescriptive translation studies and descriptive translation studies====<br /> <br /> In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )<br /> <br /> In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.<br /> <br /> The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&quot;(Liao Qiyi 2002, 6) In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ===Chapter 4 Conclusion=== <br /> <br /> Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.<br /> <br /> Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short. There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.<br /> <br /> Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.<br /> <br /> Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro-analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)<br /> <br /> ===Chapter 5 Reference===<br /> Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.<br /> <br /> J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press, 20.<br /> <br /> Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.<br /> <br /> Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.<br /> <br /> Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.<br /> <br /> Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.<br /> <br /> Snell-Hornby.(1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.<br /> <br /> Han Ziman 韩子满，Liu Fang 刘芳（2005）. 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).<br /> <br /> Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]<br /> <br /> Lin Kenan 林克难. (2001).翻译研究：从规范走向描写[Translation Studies: From the Prescriptive <br /> to the Descriptive Approach].中国翻译[Chinese Translation Journal](06).<br /> <br /> Liu Zongya 刘宗衍. 浅谈翻译理论的“规范”性[On the &quot;Normative&quot; Nature of Translation Theory]. 科技资讯[Science &amp; Technology Information]<br /> <br /> Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).<br /> <br /> Zhang Nanfeng 张南峰.(2002).多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).<br /> <br /> ==Translation Strategies Sagara Seydou, Student No :201911080004, Major:Translation Studies== <br /> <br /> Translation Strategies <br /> <br /> ===Abstract === <br /> <br /> Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.<br /> <br /> Key words: translation strategies and translational problems.<br /> <br /> This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;<br /> <br /> ===Introduction===<br /> <br /> The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers define them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical significance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)<br /> <br /> ===Content===<br /> <br /> Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classifications from different perspectives. For example, Lörscher’s (1991) classification is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classifications. It seems that clear-cut definitions of these terms might not work as well as prototype definitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)<br /> <br /> The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reflect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reflects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)<br /> <br /> The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp fiction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp; Munday,2004, p. 230)<br /> <br /> Having discussed the two prototype strategies, let us turn to the definitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few defining characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difficulty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).<br /> Problems, according to their scale, can be divided into global (or general) problems and local (or specific) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “specific activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle specific problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by specific techniques, which affect the translation result and the micro-units of the text, and are classified by comparison with the source text (Molina &amp; Hurtado Albir, 2002, p. 509).<br /> <br /> <br /> As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural filtering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.(Molina &amp; Hurtado Albir, 2002, p. 509).<br /> <br /> However, this is not consonant with the dictionary definitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is defined as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) defines translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will influence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identified the following text processing strategies: (a) problem identification, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal significant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can find out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280) ==<br /> <br /> Darwish (2008) identifies four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70<br /> <br /> <br /> However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might influence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difficulty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.(Lörscher, 1991, p. 70).<br /> <br /> ===Conclusion===<br /> <br /> In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.<br /> <br /> ===References===<br /> <br /> Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp; J. Laffling(Eds.), Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.<br /> <br /> == The Comparison of Machine Translation and Human Translation from the Perspective of Skopos Theory---A Case Study of E-C Translation of ''A Tale of Two Cities'' as an example - 欧阳静兰 OuYang Jinglan 202020080630==<br /> <br /> &lt;center&gt;欧阳静兰 OuYang Jinglan &lt;/center&gt;<br /> ===Abstract===<br /> Abstract:With the rapid development of globalization and Internet, international communication is expanding, and a lot of information needs to be translated. Due to the low efficiency of human translation, machine translation is indispensable in today. However, due to the limitations of machine translation, the quality of machine translation is still worrying. Therefore, from the perspective of Skopos theory, this paper takes the E-C translation of ''A Tale of Two Cities'' as an example to analyze the machine translation of Google translation and Baidu translation, and compare it with the translation of Song Zhaolin, so as to explore the characteristics of machine translation and human translation, try to discuss the irreplaceable nature of human translation, and discuss how to combine machine translation with human translation to improve the quality and efficiency of translation. This paper is divided into five parts: the first part introduces the background of the current translation environment; the second part introduces Skopos Theory and discusses the feasibility of Skopos Theory in analyzing machine translation and human translation; the third part introduces the advantages and disadvantages of machine translation and human translation, and discusses the relationship between them; the fourth part is a case study to see machine translation from the perspective of Skopos theory Compared with manual translation, it is concluded that machine translation and manual translation must be combined to improve the efficiency and quality of translation. The fifth part is a summary to this paper.<br /> <br /> ===Key words===<br /> Skopos Theory, machine translation, human translation<br /> <br /> ===题目===<br /> 目的论视角下机器翻译和人工翻译的对比---以《双城记》的英汉翻译为例<br /> <br /> ===摘要===<br /> 随着全球化和互联网的迅速发展，国际的交流日益扩大，大量信息需要翻译。由于人工翻译效率低下，在越来越强调效率和质量的今天，机器翻译必不可少。然而，由于机器翻译的局限性，机器翻译的质量仍然堪忧。因此,本文以目的论视角, 以《双城记》的英汉翻译为例，分析谷歌翻译和百度翻译的机器译文, 与宋兆霖版本的中文译本对比，由此探析机器翻译与人工翻译的特点,尝试论述人工翻译的不可替代性, 并讨论如何将机器翻译与人工翻译结合提高翻译的质量和效率。本文分为五个部分，第一部分对当前翻译环境背景的介绍；第二部分对目的论进行简介，并讨论目的论用于分析机器翻译和人工翻译的可行性；第三部分介绍机器翻译和人工翻译的优缺点，并讨论他们之间的关系；第四部分进行案例分析，从目的论视角下看机器翻译与人工翻译的对比，得出提高翻译效率与质量必须将机器翻译与人工翻译相结合。第五部分对全文进行总结。<br /> <br /> ===关键词===<br /> 目的论 机器翻译 人工翻译 <br /> <br /> ===1. Introduction ===<br /> With the development of globalization, the growth of Internet and artificial intelligence, machine translation becomes an indispensable choice in today’s society. Compared with human translation, machine translation has the advantages of efficiency. As the traditional translation method, human translation can guarantee the accuracy of the text. In this information era, many people are thinking if human translation will be replaced by machine translation. (Jin Wenlu 2019, 40)<br /> <br /> In September 2016, Google released the neural network translation system, which greatly improved the quality of machine translation. In November, Baidu CEO Robin Li stated at the Wuzhen Summit of the 3rd World Internet Conference that Baidu's artificial intelligence product &quot;automatic translation&quot; will enter a practical state. Therefore, this paper will put the original text of Tale of Two Cities in two representative public machine translation engines at home and abroad, &quot;Google&quot; and &quot;Baidu&quot;, to obtain the machine translation. Selecting texts from the famous classical novel ''A Tale of Two Cities'', and comparing machine translations and human translations based on this novel from the perspective of Skopos theory. This paper aims to investigate the relationship between human translation and machine translation and their developments in the future. (Hu Kaibao 2016, 10)<br /> <br /> === 2. Overview of Skopos Theory ===<br /> In the 1970s, some eminent German translation theory scholars first proposed functional translation theory. Translation theorist Katharina reiss divides text into three types: informative, expressive and operational. She suggested that according to different text types, different translation methods should be used for analysis, and different translation criticism standards should be adopted, that is, text types, language functions and translation strategies should be combined. In the translation process, it’s essential to focus on the functional characteristics of the target text. Her text type theory and translation criticism mode can be regarded as the beginning of functionalist Skopos theory. (Reiss, K, &amp; Vermeer 1984)<br /> <br /> Hans Vermeer is Reiss's student. He further developed Reiss's theory and proposed Skopos theory. He believed that Skopos theory is based on the source text, and then may produce a series of purposeful and effective behaviors. The core of this theory is that &quot;the purpose of translation determines translation strategies and method to achieve the expected purpose of translation&quot; (Reiss &amp; Vermeer 1984), German scholars Justa Holz Manttari and Christian Nord further developed this theory which based on the theory of communication and behavior, he proposed that translation theory is not a simple translation between words and sentences, but a kind of conscious behavior for the purpose of cultural communication. (Reiss, K, &amp; Vermeer 1984)<br /> <br /> ====2.1 Three Rules of Skopos Theory====<br /> The word “Skopos” is originated from the Greek language and means purpose. Skopos theory refers to the process of translation is determined by the purpose of the translation, so the purpose rule is the highest one of translation. Generally speaking, skopos theory includes three principles: Skopos rule, coherence rule (intra-textual coherence) and fidelity rule (also known as &quot;inter-textual coherence&quot;). (Nord 2001, 20)<br /> <br /> Skopos theory believes that the important principle to be followed is the &quot;purpose&quot; rule, it is the core rule of Skopos Theory: the process of translation should be based on the realization of the communicative function in the target language culture, and the goal to be achieved determines the entire process of translation, that is, the method determines the result. Vermeer differentiated the purpose of translation. He believes that the purpose of translation should include three levels: the purpose of the translator; the purpose of communicative; the purpose of specific translation strategies.In most cases, any translator has a certain purpose before translation, such as being entrusted by a translation company, market demand or the need to introduce technology. In most cases, &quot;purpose&quot; refers to the communicative purpose of translation. Under the guidance of the purpose of communication, the translator can have more space to interpret and adjust the original text. (Nord 2001, 78)<br /> <br /> To achieve the communicative and interative function between the target text and the target receptor, the target text needs to conform to the linguistic coherence, and be understood and accepted by the readers in the context of the target language and culture. The principle of coherence means that the target text must conform to the intra-textual coherence, that is, the translation must be understood by the target reader and meaningful in the culture of the target language and the communication environment in which the translation is used. “The principle of coherence requires that the information generated by the translator (target text) must be interpreted in a manner consistent with the context of the target reader.” (Shuttleworth 2004: 75) This means the translator should maximize the translation Semantic coherence and makes the translation understandable and acceptable to the target readers. The target text can help target readers understand and successfully exchange information.<br /> <br /> The fidelity rule refers to the inter-textual coherence between the original text and the target text, which requires &quot;consistency between the target text and the original text&quot; (Munday, 2010: 79). Therefore, in the translation process, the translator should not only be faithful to the original text, but also transfer the writing style and cultural factors existed in the source text. This principle requires translator to follow the purpose of translation.<br /> <br /> In the process of translation, translators should follow three principles according to Skopos Theory: the Skopos rule, the coherence rule and the fidelity rule. Among these three rules in Skopos Theory, the skopos rule is the primary principle translators should adopt in the process of translation, and the coherence rule and the fidelity rule must follow the skopos rule. So in the case of translation practice, fidelity rule is subordinate to coherence rule, and both are subordinate to the Skopos rule. In a word, Skopos rule plays a decisive role in translation process, which should be considered first in translation. (Fang Mengzhi 2011, 20)<br /> <br /> ====2.3 Application of Skopos Theory====<br /> Skopos Theory is different from traditional theories which overemphasize the features of language rules. With regard to Skopos Theory, it requires that translators should not only consider the language but also take account of factors beyond texts and language like the purpose of translation. As for ''A Tale of Two Cities'', the purpose is to make the target reader feel the same as the source target reader. Since this is a literary text, the cultural factors and rhetorical methods used in the source texts should be reflected on the target text. In addition, the feeling of the target text reader should be taken into consideration in the process of translation. Therefore, the translation should conform to habits of the target language. But guided by Skopos Theory, the advantages and disadvantages of machine translation can be easily analyzed, so that a better solution can be founded between human translation and machine translation. <br /> <br /> ===3. Machine Translation and Human Translation===<br /> Translation activities have a long history. As far as China is concerned, translation has a history of more than two thousand years. However, the translation tools have rarely changed, and the translations are always been done by &quot;translators&quot;. With the development of science and technology and the acceleration of globalization, there is an increasing need for translation, and &quot;machine&quot; translation has emerged. The advantages of high efficiency and low cost of machine translation make people think about whether machine translation will replace human translation. (Jin Wenlu 2019, 40)<br /> <br /> ====3.1 Advantages and disadvantages of human translation====<br /> Human translation has both advantages and disadvantages. For example, human translation has the characteristics of flexibility, accuracy, high readability and humanization of language. At the same time, however, compared with machine translation, human translation is less efficient and easy to be influenced by translator's own cultural background and translation capacity so it is difficult to achieve rapid development. Before the advent of machine translation, all translation activities were done by human. Compared with machine translation, translators, as a bridge of cross-cultural communication, are more flexible. Translation itself is a complex activity. (Jin Wenlu 2019, 40)<br /> <br /> Professional translators who have certain cultural background knowledge can choose different translation methods and strategies according to the similarities and differences between the two languages and cultures, so it is more flexible and accurate. The flexibility of human language enables the translator to express the meaning of the original text in a more abundant language, and accurately handle the rhetorical devices in the original text. Therefore, the target text of human translation must be more readable than machine translation. Human translation has a long history, and people's research on translation has never stopped. Many excellent translators have emerged in the world and put forward various translation ideas and strategies. Translation has established a relatively mature and complete theory. With the rapid development of China's economy and the increasing number of foreign exchanges, the demand for translation is on the rise. At the same time, the time spend on translation needs to be shortened. Therefore, manual translation alone cannot meet the needs of the translation market. (Jin Wenlu 2019, 40)<br /> <br /> ====3.2 Advantages and disadvantages of machine translation====<br /> Machine translation refers to a language can be transferred into another language automatically with the help of machine. The idea of machine translation was firstly put forward by Weaver in his book Translation in 1949(Weaver, 1955). Since the end of the 20th century, the development of the Internet and computer technology has provided more optional software and engines for machine translation. At the same time, the corpus has become richer and more complete, greatly improving the efficiency and quality of machine translation. (Jin Wenlu 2019, 40)<br /> <br /> The current machine translation is based on the &quot;Neural Machine Translation&quot; (NMT) model of artificial intelligence. Currently, the popular web page machine translations include Youdao Translation, Baidu Translation, Google Translation and so on. Google is currently in a leading position in both voice translation and text translation. Google Translation is a service provided by Google to translate texts and web pages, providing instant translation between more than 100 languages. It can provide translations of words, sentences and web pages between any two languages it supports. The more human translation documents that can be analyzed for a particular language, the higher the quality of the translation. In addition, Google's web page translation is fast, especially free to use, so it has a considerable number of users in translation activities, especially among students. Therefore, this paper will take Google Translation and Baidu Translation as an example to analyze the translation quality, which is representative in the market. (Jin Wenlu 2019, 40)<br /> <br /> Generally speaking, machine translation has the characteristics of high efficiency, low cost, accuracy of terminology translation, and great development potential. Machine translation is fast and efficient, which is unmatched by human translation. Secondly, the price of machine translation is low, even free, which greatly reduces the economic cost and time cost for those who do not require high translation quality. In addition, compared to human translation, the huge corpus established by machine translation makes the translation of some terms, especially the latest scientific and technological terms, faster and more accurate. The accurate translation of these terms requires continuous learning by the translator, and learning requires a process, which has a certain test of the translator's learning ability and learning speed. At this point, human translation has uncertainty and lag. Finally, although the history of machine translation is short, it has achieved rapid development. With the advancement of science and technology and the development of society, the functions of machine translation will be more perfect and the quality of translation will be better. (Jin Wenlu 2019, 40)<br /> <br /> First of all, from a microscopic point of view, machine translation often has problems in the choice of word meaning, especially when there is one word with different meaning. It needs the translator to select the meaning based on the context, while machine translation cannot accurately choose the meaning of a word in combination with the context. What’s more, the word order of the translated sentence often does not conform to the word order and expression habits of the target language. From the aspect of tense, it is more accurate when translating English into Chinese, because words in English can directly change tense. However, there are sometimes problems such as no corresponding tenses when translating Chinese into English. From a macro point of view, machine translation does not have cultural sensitivity and is not accurate enough for the translation of some idioms and proverbs with strong cultural color. (Jin Wenlu 2019, 40)<br /> <br /> ====3.3 Relationship between machine translation and human translation====<br /> Machine translation is based on human translation, and the establishment of corpus that machine translation relies on needs human participation. When translating technical terms, machine translation corpus and parallel text can greatly reduce the time when find and determine proper equivalent terms. However, the establishment of these corpora needs to rely on well translated materials. The accuracy and usability of corpus are also affected by the quality of human translation. Therefore, they restrict and influence each other. (Jin Wenlu 2019, 40)<br /> <br /> There are more or less defects in the micro and macro aspects of machine translation. At the micro level, it mainly includes vocabulary, syntax, tense, and so on. However, at the macro level, it mainly includes text cohesion and cultural background. Therefore, human translation is essential. In addition, all machine translation inspection, modification, sorting and other work must also be carried out manually, so as to make the translation quality better and meet the requirements of communication. It can be seen that machine translation alone cannot meet the requirements of high quality translation. Translation activities cannot be separated from human participation. Therefore, with the development of machine translation, translation should be completed by both machine and human. The two are related, influenced with each other. (Jin Wenlu 2019, 40)<br /> <br /> ===4. Case Study from the Perspective of Skopos Theory===<br /> A Tale of Two Cities is a long historical novel by British writer Charles Dickens, first published in 1859. The story is set in the French Revolution and has a touching plot. It is one of the world's literary classics. The twin cities refer to Paris and London. The story connects these two cities and tells the story of the Parisian doctor Manette. He was persecuted by the brothers of the Marquis St. Evremonde due to injustice and was detained in the Bastille prison for 18 years. After being released from prison, Mannette's daughter Lucie fell in love with the enemy's son Darney. Thus, in the whirlpool of the French Revolution, scenes of family grievances and hatred were staged grandly. Life and death, good and evil are blended in conflict and changed in an instant. On the guillotine, Carton calmly sacrificed his life for love. （Dickens 2016）<br /> <br /> A Tale of Two Cities has a rigorous structure and condensed language. Dickens's profound thinking on revolution and humanity and his breathtaking writing talent are fully demonstrated. This paper selects the most representative classic sentences in the text for comparative analysis of translation, studies whether neural network machine translation software can accurately translate classic literary works, and explores whether neural network machine translation replaces manual translation in the context of artificial intelligence. The human translation was by Zhaolin Song. Among the many translation versions in China, Song’s translation was regarded as the version which closes to the source text most. (Feng Baoyin 2018, 232)<br /> <br /> <br /> ====4.1 Case Study from the perspective of Skopos Rule====<br /> In Vermeer’ opinion, the dominant rule for any translation should be the skopos rule, which means that a translation action is determined by its purposes. That is to say, the translation action should be in accordance with the target context and culture. The purposes of target text determine the translation strategies and methods used in translation process. A good translation should conform to the target culture and target audiences’ expectations. According to Nord, “Skopos of a particular translation task may require a ‘free’ or a ‘faithful’ translation, or anything between these two extremes, depending on the purpose for which the translation is needed”. Once the intended purposes are achieved, the translation will be considered as reasonable and proper. It is unnecessary for the translation to be equivalent to the source text. (Nord 1997, 102 )<br /> <br /> Example 1: We were all going direct to heaven, we were all going direct the other way--in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. （Dickens 2016, 15）<br /> <br /> Google translation: 我们都直接去天堂，我们都直接去天堂- -简而言之，这一时期与目前的时期如此遥远，以至于它的一些最吵闹的当局坚持以最高的比较程度来接受它是好是坏。<br /> <br /> Baidu translation: 我们是所有的人都直接去天堂，我们都朝着另一个方向去——简而言之，这个时期和现在的时代非常相似，以至于一些最吵闹的权威坚持要接受它，不管是好是坏，只是在最高级的比较中。<br /> <br /> Human translation（Zhaolin Song）: 我们大家都在直升天堂，我们大家都在直下地狱——简而言之，那个时代和当今这个时代是如此相似，因而一些吵嚷不休的权威们也坚持认为，不管它是好是坏，都只能用“ 最……”来评价它。(Song Zhaolin 2005, 20)<br /> <br /> Analysis: <br /> Since this is selected from a novel, the purpose of translation should be express the meaning and beauty of the source text. According to the Google translation, it made a mistake in translating &quot;We were all going directly the other way&quot;. The translated meaning is totally different from the original. As to Baidu translation, it expressed the meaning of the original text, while the expression way will confuse the target text reader. In regards to human translation, the translator of this edition adopts the combination of literal translation and free translation. In this way, the translation not only clearly expresses the original meaning, but also takes into account the literariness of the work, so that readers can feel the characteristics of the times more vividly.<br /> <br /> ====4.2 Case study from the perspective of coherence rule====<br /> Coherence rule is also called “intra-textual coherence”, which means that the translation should be acceptable and understandable for the target audiences and be meaningful in the communicative situation and culture in which it is received. In other words, the target text should conform to the target receivers’ situation, including their given knowledge, background culture and specific circumstances. (Nord 1997, 120)<br /> <br /> <br /> Example 2: Questions, questions, questions! (Charles Dickens 2016, 56)<br /> )<br /> <br /> Google Translation: 问题，问题，问题！<br /> <br /> Baidu Translation: 问题，问题，问题！<br /> <br /> Human translation（Zhaolin Song）: 问题一个接一个地提出来！(Song Zhaolin 2005, 68)<br /> <br /> Analysis: In this sentence, the original text uses three &quot;questions&quot; in a row to enhance the tone. However, Google and Baidu Translation directly translated it to &quot;问题，问题，问题！&quot;. It sounds too blunt to read. The target text translated by Google and Baidu cannot reflect the meaning of the original text. What's more, it makes target readers hard to get meaning of the text. While the translator chose the free translation method to make the translation more natural and smooth. The translated text followed the coherence rule in the process of translation.<br /> <br /> Example 3: But just because he had a powerful enemy---an enemy with the power to send him to prison and to keep him there, hidden and forgotten, for eighteen years. (Charles Dickens 2016, 102)<br /> <br /> Google translation: 但是仅仅因为他有一个强大的敌人-一个有能力将他送进监狱并将其隐藏和遗忘在监狱里长达十八年的敌人。<br /> <br /> Baidu translation:只是因为他有一个强大的敌人，一个有能力把他送进监狱，把他关在那里，隐藏起来，被遗忘18年。<br /> <br /> Human translation(Song Zhaolin): 而只是因为他有一个强大的敌人-这个敌人拥有权势将他投进监狱，而且把他在那里与世隔绝、被人遗忘地关了18年。(Song Zhaolin 2005, 130)<br /> <br /> <br /> Analysis: In terms of grammar, English uses long sentences, which are connected by functional words, such as conjunctions, prepositions and relative words. The syntactic structure is relatively complex and it is a hypotactic language. Chinese is a paratactic language. In the process of E-C translation, we often use disassembly syntax to translate a long and complex English sentence into several short and simple Chinese short sentences. From Google Translation, it directly translated the structure of the original text. The target text created by Google translation doesn't conform to target language structure. While the translation of Baidu almost in accordance with the target language structure. As to the human translation, not only was the structure, but also the meaning was perfectly expressed.<br /> <br /> ====4.3 Case study from the perspective of fidelity rule====<br /> Fidelity rule is also named by Vermeer as “intertextual coherence”, which puts emphasis on the relationship between the source text and target text. Based on Skopos theory, fidelity rule requires that the target text should be in accordance with the source text, which means the information contained in the source text should be exactly conveyed by the target text under the translators’ efforts. (Nord 1997, 140)<br /> <br /> <br /> Example 1: It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us. （Dickens 2016, 15）<br /> <br /> Google Translation: 那是最美好的时光，那是最糟糕的时光，那是智慧的时代，那是愚昧的时代，那是信仰的时代，那是轻信的时代，那是光明的季节， 是黑暗的季节，是希望的春天，是绝望的冬天，我们眼前的一切，眼前的一切。<br /> <br /> Baidu Translation: 那是最好的时代，最坏的时代，智慧的时代，愚昧的时代，信仰的时代，不信的时代，光明的季节，黑暗的季节，希望的春天，绝望的冬天，我们面前什么都有，面前什么都没有。 <br /> <br /> Human Translation (Zhaolin Song): : 那是最美好的时代，那是最糟糕的时代；那是个睿智的年月，那是个蒙昧的年月；那是信心百倍的时期，那是疑虑重重的时期；那是阳光普照的季节，那是黑暗笼罩的季节；那是充满希望的春天，那是让人绝望的冬天；我们面前无所不有，我们面前一无所有。（Song Zhaolin 2005, 20）<br /> <br /> Analysis: This is the classic opening paragraph in &quot;A Tale of Two Cities&quot;, and it can be said to be very popular. On the whole, because of the simple structure of this paragraph, the three machine-translated translations all accurately express the content of the original text, but one shortcoming is that it is difficult for machine translation to express the unique beauty of rhythm of the original text.<br /> <br /> Through the analysis of the translation of commonly used machine translation software and human translation from the perspective of Skopos Theory, we can conclude that for the translation of literary works, machine translation can accurately express the meaning of the original text, even equal to manual translation if it is some simple sentence expression. However, the quality of machine translation needs to be improved some sentences with complex sentence patterns and difficult grammatical structures. Therefore, the translation of literary works by machine translation still has a long way to go.<br /> <br /> ===5. Conclusion===<br /> The main purpose of this paper is to find a better solution between machine translation and human translation under the guidance of the Skopos Theory for optimizing weaknesses of machine translation platforms, which not only generates solutions to errors, but also improves the quality of machine translation. <br /> <br /> Theoretically, this paper applies Skopos Theory to guide human translation and machine translation of literary texts. Machine translation can be regarded as a basis of human translation, while those errors caused by machine translation can be improved manually after the completion of machine translation. Meanwhile, human translation by employing appropriate translation methods and techniques, such as semantic conversion, amplification, omission and so on, human translation based on machine translation enormously solves errors of machine translation which further optimizes weaknesses of machine translation. Human translation process also becomes more efficient with the help of machine. <br /> As for machine translation, firstly, machine translation platforms can’t replace translators on account of its incomplete corpus and limitations in transferring the cultural meaning. Secondly, errors at lexical level caused by defects of machine translation are much more than that at syntactical level in F396P Aircraft Tow Tractor Maintenance Instruction. Lastly, machine translation platforms are restricted to contexts of language, situation and culture which lead to incorrect target text. <br /> <br /> In regard with human translation, from the perspective of Skopos theory, human translation is more understandable and readable to target readers than that of machine translation. It’s essential for the translator to know typical errors in machine translation, features of chose machine translation platforms and characteristics of source text, which could fascinate the efficiency of translation. All in all, machine translation platforms enhance the efficiency of translating large amount of material and human translation provides a solution for machine translation of poor quality. Machine translation and human translation are complement to each other.<br /> <br /> ===References===<br /> * Charles Dickens. (2016). A Tale of Two Cities. Macmillian.<br /> <br /> * Fang Mengzhi 方梦之. (2011). 中国译学大辞典 [A Dictionary of Translation Studies in China] 上海外语教育出版社Shanghai Foreign Language Education Press.<br /> <br /> * Feng Baoyin冯宝茵 (2018). 从读者反应论对比两个《双城记》译本 [A comparative study of two versions of a tale of two cities from the perspective of reader response theory]. 北方文学, Northern Literature (36):232.<br /> <br /> * Hu Kaibao &amp; Li Yi胡开宝 &amp; 李翼. (2016). 机器翻译特征及其与人工翻译关系的研究. [Research on the characteristics of machine translation and its relationship with human translation] 中国翻译 Chinese Translation (05),10-14. <br /> <br /> * Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.<br /> <br /> * Mark Shuttleworth (2004). Dictionary of Translation Studies. Foreign Language Teaching and Research Press. 75.<br /> <br /> * Munday, J. (2001). Introducing Translation Studies: Theories and Application. London: Routeledge. 78.<br /> <br /> * Reiss, K &amp; Vermeer, H. J. (1984). Groundwork for a General Theory of Translation. Tubingen: Niemeyer.<br /> <br /> * Song Zhaolin宋兆霖 (2005). 双城记 A Tale of Two Cities 中国戏剧出版社, China Drama Press.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201214_cult&diff=116636 2020-12-20T13:26:55Z

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

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=116053 2020-12-19T16:00:35Z

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

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=116039 2020-12-19T15:51:58Z

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

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=115983 2020-12-19T15:03:19Z

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

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=115975 2020-12-19T14:56:09Z

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

Sagara Seydou 3 https://bou.de/u/index.php?title=20201221_trans&diff=115423 2020-12-19T08:20:19Z

<p>Sagara Seydou 3: /* Sagara Seydou */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> The idea that tones discerned in verbal art will reflect the mood of the relationship between the people and the state makes frequent appearances through Chinese literary philosophy, and it frequently enters the world of modern politics, as work on the modern Chinese folklore movement will attest (Hung). <br /> <br /> Another more recent sample is the expression “setting the tone” [定調子] describes the degree of condemnation in a Cultural Revolution era Big Character poster. This modern example displays a relatively cynical view of the function of tone; the power to set tone is in the hands of the accuser, but its strength reflects the crime of the victim.In the world of literature and arts policy, “New Tone” 新基調 became the standard Chinese socialist line against precisely such works as our “provincial leader” above castigated as “pei pei pei-ing”.<br /> ==Chang Huiyue 常慧月==<br /> The term “tone” (particularly as diao) has acquired negative connotations over the past two of decades, at least in part because of its role in politicoliterary battles. Even editors sympathetic to “new tone” values distance themselves from the term (Yang, Zhu). In a parallel strategy, contemporary zawen are written in covert form, more like “East Station,” than like “Pei pei pei!”?, which so revealingly displays the mechanics of the declamatory modal trope. In contrast to the late 1980's, contemporary zawen have in recent years receded to hide in other types of writing. This strategy is a familiar one in the context of zawen history; the necessity to hide only increases the effect the “involuntarily” discordant tone, which is held to be, biting and kicking, reflecting the truth.<br /> ==Chen Han 陈涵==<br /> When zawen were first fashioned as a modern genre, it was the involuntary expression of responsive emotions that were explicitly invoked as zawen's purpose. When Hu Shih published the first major newspaper column devoted to the serial publication of zawen in 1918, the “Record of Spontaneous Feeling,” the introductory essay was entitled “什麼話,” literally “What speech.” This title also provides a demonstration of a modal trope on the level of syntax. In this original title there was no punctuation, as “shenme” already indicates the question “what” in the standard form, before European punctuation was imported as a regular feature of written vernacular Chinese.<br /> ==Chen Hui 陈惠==<br /> Beyond the interrogative function, however, “hua,” [“speech” or “talk”] has the declamatory effect of objectifying speech, and holding it up for dramatic examination. For an idiomatic English translation I would offer “What!?” including both exclamation and question mark. The contents of essay describe the purpose of zawen as a venue for explosive emotional responses, linked to the other, “regular” items printed in newspapers everyday. This ordinary newspaper fare “gives people goose flesh [disgusts them] makes them sigh, or elicits a cold smile or an outright laugh” (Hu Shih, Shen Bao 1918). Zawen were thus launched in the early modern Chinese newspaper as the nearly physical expression of these feelings or moods in the form of literary essays. <br /> ==Chen Jiangning 陈江宁==<br /> Hu Shih's formulation emphasizes zawen's role as a response to “life itself.” Like most poetry, but unlike most fiction and drama, zawen is itself a first person voice, not a representation of voices. Yet unlike poetry, which may need to be at least imagined to be read out loud, repeated and savored for full effect, zawen's ideal is to appear for a fleeting moment on the back page of a newspaper, to be received with the accompaniment of an enigmatic laugh, sigh or snort from the reader, and then thrown away quickly, before anyone can “find their seat and sit in it,” or take offence. <br /> ==Chen Jiaxin 陈佳欣==<br /> Generic categories are not the only aspect that zawen tend to mix; they characteristically contain sudden shifts in tone, style and voice, moving from a snippet of stray “overheard” conversation to an elegant, classical allusion. Echoing Hu Shih's 1918 idea of zawen as a “response” to the articles on other pages of the newspaper, the zawen, still characteristically the back page of most newspapers, nearly always contains a “foil” in the form of a direct quote from the author has read or heard. In addition to creating a microcosmic social dialogue, this split between two voices, the writer's and that of the “foil” also allows for dizzying clashes of style and voice that enclose unlikely combinations of syntax and grammar, as well as ideas, a single text. <br /> ==Chen Jingjing 陈静静==<br /> Tone in an essay is an ironic figure of speech; how can you channel that which is carried in sound through the ink of print? In this paper I have tried to illustrate the trope of tone through the “sonorous” work, particularly that of ShaoYanxiang, an official poet who in retirement is better known for the essays in which he collapses poetry into polemic, his zawen. The distinct and beleaguered social and cultural space for zawen in contemporary China reveals the mechanics, ideology and significance of tone in Chinese writing. Even more than other literary genres, zawen depends upon something within the earthy noise of moody, mulish voices to carry its messages.<br /> ==Chen Sha 陈莎==<br /> While readers love to hate their morally and politically provocative zawen-of-the-moment, writers string zawen across stretches of time and publishing organs to construct heavily intertextualized conversations. Eventually they even preserve zawen, long after the dizzying minutia of allusions, jokes and digs are forgotten, often compiling a career's worth of them into small print runs of volumes that they give away to friends and admirers as discursive portraits of themselves. Lu Xun's genre of the “dagger and spear” is thus not only a sly political weapon, but also a complex sculpture of the culturally shaped self, chiseled by the cantankerous tones of contentious social dialogue.<br /> ==Chen Sunfu 谌孙福==<br /> '''Appendix: Translations of two primary texts: “'Pei Pei Pei!'? ” and “East Station”'''<br /> <br /> '''“Pei Pei Pei! ”?'''<br /> <br /> A friend from outside literary circles asked me to find him some “pei pei pei!” essays to read, and I had to stare at him blankly with nothing to say. He then explained that he had read in a newspaper that a certain provincial leader had announced at a banquet that there must not be “pei pei pei – ing” all over the place, and so clearly there must be pei pei pei-ing all over the place.<br /> Have I gotten so insensitive? Out of self-abrogation, and also out of curiosity, I rushed to seek it out.And so it was, what had been said was “there must not be pei pei pei -ing all over the place, it must not always be the language of mockery, sarcasm and scornful dismissal that is used to write about the party, the nation and the people, dispersing a gray mood that makes people pessimistic and disappointed.” It is like this all over the place, and not in just in one particular place, things are always this way, and not just at a certain time, you can see how widespread and serious the problem is.<br /> ==Chen Yongxiang 陈永相==<br /> A long time ago in the liberated areas, it was advocated that the entire party should publish newspapers. After the establishment of the nation, when everything was “operated on a large scale with the entire people” I did not pay attention to whether or not it was advocated that all the people should publish the newspapers. But getting all people to read the newspapers is the goal of all those who follow the newspaper profession. In that way, newspapers are not merely published for leading institutions and leaders to read, but rather at the same time (actually this should be primary) for the masses to read. They are published for all the people -- among the people there are illiterates and partially literate, but through listening to the newspapers being read, the broadcasters and televisions have accepted the responsibility of getting the newspaper read, and this segment of the masses also figures as indirect readers of the newspapers.<br /> ==Cheng Yusi 成于思==<br /> The readers have the greatest right of criticizing the newspapers, and I wonder how many readers have discovered this phenomenon of there being “pei pei pei -ing” all over the place. <br /> <br /> I am one of these readers, subscribing on my own to several “large” newspapers (newspaper publications have not been classified as large or small, but I follow convention here) there are in addition a few newspapers that people send to me; as to “small” newspapers, I have not the leisure nor the money to buy the papers in the Beijing area, not to mention nearby Tianjin and Hebei. Even so, just taking the 10 to 20 different newspapers I often look over, including the cultural newspapers, I have not discovered these “always using the language of mockery, sarcasm and scornful dismissal to write about the party, the nation and the people” sorts of “pei pei pei” pieces. <br /> ==Deng Jinxia 邓锦霞==<br /> I could only hand back to my friend a blank report. But naturally my not having seen them does not mean they do not exist. What one person can see is limited. I hope that the extra sensitive speaker on this matter can openly point them out, or even offer examples of eight or ten articles, or even hold up just three to five articles as models of this kind of work, so as to allow us to be enlightened and improve our discriminating ability in seeing which essays are those called “pei pei pei,” perhaps at the same time clearing up a related matter by analogy, that of understanding what kind of essays constitute “ba ba ba” as well.<br /> <br /> 我只能把空白的报告交给我的朋友。 但是当然，我没有看到它们并不意味着它们不存在。 一个人只能看到有限的内容。 我希望对此事特别敏感的发言人可以公开指出，甚至提供八到十篇文章的示例，或者只举三到五篇文章作为此类工作的典范，以启发我们并提高我们的辨别能力，以了解哪些论文被称为“呸呸呸”，或者同时通过类推来清理相关问题，即理解哪种论文也构成“ 叭叭叭”。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 13:32, 16 December 2020 (UTC)<br /> <br /> 我只能把空白的报告交给我的朋友。 但是当然，我没看到它们不等于它们不存在。 一个人能看到内容有限。 我希望对此事特别敏感的发言人可以公开指出，甚至提供八到十篇文章的示例，或者只举三到五篇文章作为此类工作的典范，以启发我们并提高我们的辨别能力，以了解哪些论文被称为“呸呸呸”，或者同时通过类推来清理相关问题，即理解哪种论文也构成“ 叭叭叭”。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 13:40, 16 December 2020 (UTC)<br /> <br /> 我只能向朋友交回一份空白报告。当然，我没有见过他们并不代表他们不存在。一个人所能看到的是有限的。我希望在这个问题上特别敏感的发言者能公开指出它们，甚至举出八篇、十篇的文章示例，或者只举出三五篇作为这类作品的范本，让我们提高我们的辨别能力，为我们区分哪些文章是那些所谓的 &quot;呸呸呸&quot;的文章是提供启发，或许同时也能通过类比澄清相关的问题，就是让人明白构成 &quot;叭叭叭&quot;的文章是什么样的。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 13:44, 16 December 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> This suggestion is sincere, not just the usual politeness. In order for literary arts, newspaper publications and literary publications to develop better social effects and to help unite the ways of our times with the people's hearts, newspaper editors, newspaper readers, and those in charge of this occupation should all be able to directly express their own views, and upon making mistakes should help each correct and make up for them, nobody needs to be polite about this.<br /> <br /> 这个建议很真诚，不仅仅是平时的礼貌。为了使文学艺术、报纸出版物和文学出版物发挥更好的社会效果，同时将我们这个时代的生活方式与人民的心灵结合起来，报纸编辑、报纸读者和负责这一领域的人都应该能够直接表达自己的观点，在犯错误时，他们应该相互帮助纠正和弥补错误，没有人需要对此保持礼貌。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:07, 17 December 2020 (UTC)<br /> <br /> 这个建议是真诚的，而不是出于寻常的客套。为了使文学艺术、报纸出版物和文学出版物发挥更好的社会效应，同时将我们这个时代的生活方式与人民的心灵结合起来，报纸编辑、报纸读者和负责这一领域的人都应该要能直接表达观点，在犯错误时，他们应相互帮助纠正和弥补错误，不必维持客套。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:11, 17 December 2020 (UTC)<br /> <br /> 这一建议是真诚的，而不是出于礼貌的客套话。为了使文艺、报刊、文学作品发挥更好的社会价值，将时代特性与人民内心相连，报社编辑和读者，以及该领域的负责人应该直截了当地表达自己的观点。在犯错误时，各方应互相帮助，纠正和弥补错误，在这一过程中无需礼貌的客套话。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:49, 17 December 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> After reading this speaker's comments, there is another matter that mystifies me. According to what was said, “from the next (meaning this and next) two years of discipline and rectification, there will be more new challenges and problems, and literary publications should be of assistance in stabilizing the people's minds, increasing faith, and not demoralizing the people's will.” In reading all these newspapers, this is the first time I have seen this “stabilize the peoples mind” proposition. If there is a need to stabilize the people's hearts, it must proceed from the assumption that the peoples hearts are not stable. As for the reason why people's minds are not stable, it comes back to the “discipline and rectification and the new challenges and problems” of these two years.<br /> ==Gan Fengyu 甘奉玉==<br /> I am confused again. These “challenges and problems” that so vex people, do they result from the “discipline and rectification” or is it because of these “challenges and problems” that the need arises to “discipline and rectify”? If the more you “discipline and rectify” the more you provoke “many new challenges and problems” in people's minds, then why do all this “discipline and rectifying”? Moreover, I do not understand what “discipline and rectification” refers to nor what the “new challenges and problems” are, and I cannot figure out what “stabilize people minds” means very precisely, nor can I see what concrete request is being made. This is my request for instruction.<br /> ==Gao Mingzhu 高明珠==<br /> The Literature Journal column “Literature and the People's Lives” has been asking for a manuscript from me many times, but I have never been able to take up the assignment. As I write to this point, I suddenly thought that this piece should be called “Literature and the Peoples' Minds”? But that is a big topic, something that a thousand characters can not manage to capture. 1989.2.21.<br /> Shao Yanxiang 1993 in 自己的酒 [My Own Wine] pages 181-183, 群眾出版社<br /> <br /> '''East Station'''<br /> <br /> Thirty years ago in Beijing, if you mentioned “East Station,” everybody would know that referred to the Beijing East Station that lies to the outer east side Front City Gate. Today this unremarkable construction, built in a half-westernized architectural style and sandwiched between the tall buildings of this noisy and busy city, supports a little sign that reads “Railway Workers Club.” It is already an “ancient artifact,” long gone are the prosperous and glorious days of old. <br /> ==Gong Yumian 龚钰冕==<br /> This train station was once a symbol of bustling urgency, day and night swallowing and spewing out the many different hues of travelers who come to and leave the old capitol. Outsiders that have been to Beijing may not have wandered on Fragrant Mountain or not even have visited the Imperial Museum, but none would not remember this railway station. <br /> <br /> This train station, like any other place in Beijng, has experienced everything, cycles of prosperity and demise passing before its watch. It has greeted both the voluntary and the involuntary travelers to Beijing, and also the powerful it welcomed, as well as those it did not welcome. It sent off the happy people on their first [train] voyages, and also the broken hearted people who were departing; how many of them left this place never to come back?<br /> ==Gu Dongfang 顾东方==<br /> When 20-year-old Shen Congwen arrived in Beijing after his roundabout journey from Phoenix in Hunan Province, he may have walked out of the station and stood for a while at the square in front of it. He would have seen, because in those years there was still a space in front, first the uniformly arranged buildings, and the colorfully carved gate of Zhengyang tower. His senses would have been struck with awe at the deep and solemn beauty. Did he think of the way Kang (youwei) and Liang (qiqiao) were in the depths of an inescapable trap when they embarked their train to flee, in the midst of their hurry without even the time to look back upon the winged palace roofs of their beloved capitol? <br /> ==Guan Qinqing 管钦清==<br /> That year in July the canons sounded at Lugou Bridge. When the railroad was restored between Beiping and Tianjin, the first trainload was the “four thousand refugee reds fleeing to Tianjin,” that was how the Tianjin newspaper put it. When those travelers entered East Station, they took their first step on the road of flight; were there any among them that that could predict that long after their own “fortuitous rescue,” in 1958 there would be another group making their unseemly departure from the Beijing station, submitting their fates to the unpredictable road?<br /> ==Gui Yizhi 桂一枝==<br /> Recently I looked through Liu Meng's “Reminiscences on a Rainy Day” in which he writes of the rainy day April of 1958, when [he along with] a group was sent to the great northern wilderness. The platform in the rainy day, the locomotive in the rainy day; he deliberately reminisced calmly, saying it was like this memory had also been washed clean by the rainy rain. At that time Liu Meng had been young, but traveling along with him were many people who had fallen into this hardship in their old age, certainly each of them had their own earlier “at that time.”<br /> <br /> Head hanging, walking upon the rain-wet road; this is someone who has far to travel. Every window is weeping; this is someone reminiscing in the rain.<br /> ==Guo Lu 郭露==<br /> And in March of 1949, when Guo Moruo and his democrats gathered together and arrived in Beijing, they were received with grand ceremonious welcome; the tears they wept were of joy. At the time he composed a poem “How much of the people's blood was spilled for this honor. Thinking of it, the tears fall, and happy laughter is unable to articulate in sound.” -- I don't know why, but this poem was not collected in any of his later collections.<br /> <br /> The platform of Beijing East Station, from the end of the last century to the middle of this century, has been a stage of constantly revolving action, no matter whether the security forces patrolling the edges of the stage were armed police of the North Coast Warlords, or the Japanese Army Police, or the Nationalist soldiers, police, M.P.’s or special agents, or the “People's Traffic Police.”<br /> <br /> 而在1949年3月，当郭沫若和他的民主人士到达北京时，他们受到了隆重的欢迎仪式，他们流的是喜悦的泪水。 当时郭沫若作了一首诗：&quot;为了这个荣誉，洒了多少人民的血。 想着想着，眼泪就掉下来了，幸福的笑声无法用声音来表达。&quot; --不知道为什么，这首诗在他后来的作品集里都没有收录。<br /> <br /> 北京东站的站台，从上世纪末到本世纪中，不管在舞台边缘巡逻的保安部队是北洋军阀的武警还是日本军警，又或者是国民党的士兵、警察、宪兵或特务，还是 &quot;人民交通警察&quot;，它一直是一个不断变幻的舞台。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:23, 17 December 2020 (UTC)<br /> <br /> 1943年3月，当郭沫若和他的民主人士到达北京时，他们收到了隆重的欢迎仪式，他们流的是喜悦的泪水。当时郭沫若作了一首诗：“为了这个荣誉，洒了多少人民的血。想着想着，眼泪就掉下来了，幸福的笑声无法用言语来表达。”--我不知道为什么，但是这首诗在他后来的作品里都没有收录。<br /> <br /> 从上世纪末到本世纪中，北京东站的站台已然成为一个不断轮回的舞台，在那里有边界巡逻的保安部队不论是武装的北洋军阀还是日本军警，又或者是国民党的士兵、警察、宪兵或者是特务，还是“人民交通警察。”<br /> <br /> ==Han Haiyang 韩海洋==<br /> But because nearly everybody “performed” there in one way or another, at least having passed across that stage, everything about it was forgotten. Literary works pass through it with a single stroke, only the ending of the novel “Golden Powder Dynasty” provided a scene for it. This leftover architectural structure does not even rate a “district preservation unit” marker. This is because there are too many ancient traces in Beijing, how could an object merely one hundred years of age be considered antique? <br /> <br /> Today will also become history. And every inch of Beijing earth will provide proof of its history. <br /> <br /> 1989. 9. 13 <br /> <br /> Please don't cut or change this date. The new railway station began operation in 1959, and this fits in parallel with “more that thirty years ago” at the beginning of the essay.<br /> <br /> 但是因为几乎所有人不管怎样都在那“表演过”，最起码从那个舞台上经过，于关于它的一切全部都被遗忘。文学作品在这个舞台上浮光一掠，只有小说《金粉世家》的结局算作是上演了一幕。遗留的建筑结构都没有被评为“保护区”的标志。这是因为在北京像这样的古老残留建筑有很多，才拥有一百多年历史又怎么能被算作是古老建筑呢？<br /> <br /> 今天也依然会成为历史。北京的每一寸土地都可以为此证明。<br /> <br /> 1989.9.13<br /> <br /> 请不要删除或改变这个日子。 这个新的火车站于1959年开始工作，同时，也是这部散文的开始之言“三十年之前”。<br /> <br /> 但因为几乎每个人都在那里或多或少地 &quot;表演 &quot;过，至少是经过了那个舞台，关于它的一切都被遗忘了。 文学作品一气呵成地经过它，只有小说《金粉王朝》的结局为它提供了一个场景。 这座遗留下来的建筑结构，连 &quot;区级保护单位 &quot;的标志都评不上。 这是因为北京的古迹太多，仅仅百年的物件怎么能算作古董呢？ <br /> <br /> 今天也将成为历史。 而北京大地的每一寸土地都将为其历史提供证明。 <br /> <br /> 1989. 9. 13 <br /> <br /> 请不要删减或更改这个日期。 新火车站于1959年开始运营，这与文章开头的 &quot;三十多年前 &quot;相吻合。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:34, 17 December 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> '''Nostalgia without Memory: Reading Zhang Wei’s Essays <br /> In the Context of Fable of September''' <br /> <br /> Jie Lu<br /> <br /> '''Abstract'''<br /> <br /> In this paper I will discuss what can be called agrarian nostalgia in Zhang Wei's essays collected in his Anxious and Indignant Homeward Journey, published in 1995 as a part of Resisting Compromise Book Series. I will examine his nostalgia as a critical and moral stance in the literary context of his highly claimed novel The Fable of September. In the novel, history is mythologized, essentialized, and therefore erased to embody an agrarian being associated with land. If land in Zhang's novel represents an idealized existence, then in his essays, it becomes both a social and literary metaphor to symbolize moral purity and literary elitism. It is posed as a means to achieve individual, social and literary salvation, and an absolute standard to critique social reality and popular culture in the age of commercialization.<br /> <br /> '''没有记忆的怀恋：阅读张炜的散文集<br /> 以九月寓言为背景'''<br /> <br /> 吕杰<br /> <br /> '''摘要'''<br /> <br /> 在本文中，我将讨论张炜的散文中可以被称为农业乡愁的东西，这些散文收录在他的《焦急而愤懑的归途》中，该书于1995年出版，是《抗妥协书系》的一部分。我将在他备受称道的小说《九月寓言》的文学语境中，考察他作为一种批判和道德立场的乡愁。在小说中，历史被神话化、本质化，从而被抹杀，体现出一种与土地相关的农业存在。如果说土地在张的小说中代表了一种理想化的存在，那么在他的文章中，土地就成为一种社会和文学的隐喻，象征着道德的纯洁和文学的精英。它被摆在了实现个人、社会和文学救赎的手段上，也是商业化时代批判社会现实和大众文化的绝对标准。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:23, 17 December 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> Nostalgia as an indication of fundamental condition of human estrangement or alienation has been exacerbated by the speeds and scopes of modernization and globalization in contemporary China. This nostalgic sentiment is intensely experienced by intellectual elites who wish to maintain their traditional role as society's moral guardians or as society's conscience, and by literary writers who wish to sustain the distinction between pure and popular literature. It is exactly this moral absolutism and literary elitism that have been undermined by cultural and socioeconomic changes. What nostalgia in Zhang's writings reveals is not so much a resistance to modernization process as incapability of deep understanding the complexity of Chinese modernity.<br /> ==Hu Baihui 胡百辉==<br /> At the turn of the twenty-first century in China, with modernization and globalization gaining full momentum, it is interesting to find many writers turning their gaze backward to the past rather than singing the praises of this new global age. Among writers such as Liang Xiaosheng, Zhang Chengzhi, and Zhang Wei, nostalgia has become their dominant literary mode, through which to both critique commercialism and globalism and express the authors’ moral and literary ideals. In this paper I wish to focus on the moral and literary implications of nostalgia in Zhang Wei’s essays, as collected in his Anxious and Indignant Homeward Journey (youfen de guitu), published in 1995 as a part of the Resisting Compromise Book Series (dikang touxiang shuxi). [* Jie Lu is an Assistant Professor of Chinese at the University of the Pacific. The author is grateful to Martin Woesler, the organizer of the conference on The Modern Chinese Literary Essays (August, 2000, Germany) where this paper was presented, and Michelle DiBello for her insightful comments and careful editing of the whole text. <br /> Resisting Compromise Book Series (Dikang touxiang shuxi) includes collections of essays by Zhang Chengzhi, Zhang Wei, Han Shaogong, Yu Qiuyu, Li Ri, and Shi Tiesheng respectively. ]<br /> <br /> 在二十一世纪之交的中国，随着现代化和全球化的全面推进，许多作家将目光转向过去，而不是歌颂这个新的全球化时代，这是一个有趣的现象。在梁晓声、张承志、张炜等作家中，怀旧已成为他们的主流文学模式，通过它既批判商业主义，又批判全球化，表达作家的道德理想和文学理想。本文旨在探讨张炜散文中怀旧的道德和文学意蕴，这是1995年出版的《反抗妥协丛书》（迪康头像书西）的一部分。（陆洁是太平洋大学中文系助理教授。本文作者感谢2000年8月在德国举行的中国现代文学随笔会议的组织者马丁·韦斯勒和米歇尔·迪贝洛对全文的深刻评论和精心编辑。《抗争妥协丛书》（迪康头像书西）收录了张承志、张炜、韩少功、余秋雨、李日、史铁生的散文集。）--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:17, 18 December 2020 (UTC)<br /> <br /> 在二十一世纪之交的中国，随着现代化和全球化的全面推进，出现了一个有趣的现象，许多作家没有歌颂这个全球化的新时代，反而将目光转向过去。如梁晓声、张承志、张炜等作家，怀旧已成为他们的主流文学模式，通过这种文学模式他们既批判商业主义，又批判全球化，表达作家的道德理想和文学理想。本文旨在探讨1995年出版的《反抗妥协丛书》（迪康头像书西）一书中的怀旧的道德和文学意蕴。（陆洁是太平洋大学中文系助理教授。本文作者感谢2000年8月在德国举行的中国现代文学随笔会议的组织者马丁·韦斯勒和米歇尔·迪贝洛对全文的深刻评论和精心编辑。《抗争妥协丛书》（迪康头像书西）收录了张承志、张炜、韩少功、余秋雨、李日、史铁生的散文集。）--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 02:54, 19 December 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> Instead of putting Zhang’s writings in the larger context of contemporary intellectual debates over radicalism (radical intellectual/cultural discourse) and (new) conservatism (anti-radical),[ Regarding the major theoretical discourses in contemporary intellectual debates in China, see Xu Ben’s “Contesting Memory for Intellectual Self-Positing: The 1990s’ New Cultural Conservatism in China” in Modern Chinese Literature and Culture, Vol.11 (Spring, 1999) 157-193; Jianhua Chen’s “Local and Global in Narrative Contestation: Liberalism and the New Left in Late-1990s China” in Journal of Asian Pacific Communication, Vol. 9 113-129; Intellectuals’ Positions (Zhishi fenzi lichang) in three volumes, edited by Li Shitao, published by Shidai wenyi chubanshe, 2000. ] I will examine it in the literary context of his highly acclaimed novel Fable of September published in 1992. <br /> Fable of September represents history in a way that mythologizes, essentializes, and therefore erases it in the name of an idealized agrarian existence. Indeed, the idea of “the land” (tudi) is a transcending and all-encompassing concept in Zhang Wei writings, representing an idealized pure state uncontaminated by industrialization and modernization. In his essays, the land is transformed into a social and literary metaphor that symbolizes moral purity and literary elitism against what the author perceives as the contemporary backdrop of general moral decadence and literary chaos. This ideal is posed as a means to achieve nothing less than social, moral and literary salvation, raised as a kind of absolute standard to critique social reality and popular culture.<br /> <br /> 而不是将张的作品在当代知识争论激进主义的大背景(激进知识/文化话语)和(新)保守主义(anti-radical),(关于当代知识辩论的主要理论话语在中国,看到徐本的“争夺记忆知识Self-Positing: 1990年代在中国的新的文化保守主义”在中国现代文学和文化,Vol.11(春天,1999)157 - 193;陈建华“叙事论争的本土与全球:90年代末中国的自由主义与新左派”，载于《亚太传播》第9卷113-129;李世涛主编《知识分子的地位》三卷，《时代文艺社》2000年出版。我将从他1992年出版的广受赞誉的小说《九月寓言》的文学背景来探讨这个问题。<br /> 《九月寓言》以一种神话化、本质化的方式展现了历史，并因此以理想化的农业存在的名义抹去了历史。实际上，“土”在张维的著述中是一个超越的、包罗万象的概念，代表着一种理想化的、未受工业化和现代化污染的纯净状态。在他的文章中，这片土地被转化为一种社会和文学隐喻，象征着道德纯洁和文学精英主义，而不是作者所认为的普遍道德颓废和文学混乱的当代背景。这一理想被认为是实现社会、道德和文学救赎的一种手段，被提升为一种批判社会现实和大众文化的绝对标准。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 11:23, 18 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> My argument, however, is that Zhang’s reification of “land” as a transcendental metaphor in his essays only betrays the author’s lack of any profound historically informed understanding of the complexity of Chinese modernity. He simply refuses to accept social and cultural dilemmas and contradictions as permanent fixtures of the intellectual and cultural landscape. At the same time, Zhang’s outright criticism of consumerism and globalism suggests an underlying ambivalence about modernization. As China’s post-socialist social reality grows more complex and demanding, with more diversified and unstructured cultural formation, any clear-cut moral solution to social evils based on pre-modern social relationship and norms (positing the utopian vision of a transcendental realm) can no longer be effective. Nor is it sufficient to solve the sense of cultural crisis brought on by the progression of both modernization and globalization.<br /> <br /> 然而，在我看来，张炜在他的散文中把“土地”具化为一个先验的隐喻，这只能暴露出作者对中国现代化的复杂程度缺乏深刻的认识。他只是拒绝接受社会和文化困境和矛盾作为知识和文化领域的永久固定装置。与此同时，张炜对消费主义和全球主义的直接批判表明了他对现代化的矛盾心理。随着中国后社会主义的社会现实变得越来越复杂和越来越严苛，文化形态也越来越多样化和无组织化，任何明确的道德解决方案，不管是基于前现代社会关系和规范(设想一个先验领域的乌托邦愿景)还是针对社会罪恶，都不再有效。也不足以解决现代化和全球化进程带来的文化危机。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 06:05, 18 December 2020 (UTC)<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> The contemporary Chinese intellectual and cultural scene is a complex one, with major conflicting trends – one toward the commercialization of knowledge/literature and another in strong resistance to the very same. A new diversity of voices can be heard in intellectual debates at the more abstract conceptual level, and a number of Chinese writers have also joined the scene – whether consciously or unconsciously -- with their own distinct literary voices. The Resisting Compromise Book Series in fact embodies these writers’ own effort of resistance to commercialism and globalism, which they perceive as corrosive forces in their culture and society.<br /> <br /> 当代中国的知识文化环境是复杂的，其主要冲突趋势有两种，一种是知识/文化的商业化，另一种是对该商业化的强烈抵制。在更抽象的概念层面的知识分子的辩论中，可以听见各种不同的新声音，许多中国作家也加入了这一环境中——有意或无意地——带着他们自己独特的文学声音。《抵抗妥协》系列实际上体现了这些作家反对商业主义和全球主义的努力，他们认为商业主义和全球主义侵蚀了他们的文化和社会。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:51, 16 December 2020 (UTC)<br /> <br /> 当代中国的知识文化环境是复杂的，主要的冲突趋势——一种是走向知识/文学商业化的趋势和另一种对知识/文学商业化的强烈抵制趋势。在更抽象的概念层面的知识分子辩论中，可以听到新的多元化的声音，许多中国作家也加入了这个舞台——有意或无意地——带着他们自己独特的文学声音。《抵抗妥协》系列丛书实际上体现了这些作家反对商业主义和全球主义的努力，他们认为商业主义和全球主义侵蚀了他们的文化和社会。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 14:24, 16 December 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> As the series’ editor-in-chief states in the preface, the work is devoted to those contemporary “literary heroes” (Xiao 1995, II), that is, certain literary idealists such as Zhang Wei, Zhang Chenzhi, Han Shaogong, Yu Qiuyu, Shi Tiesheng, and Li Rui. These literary heroes are recognized for daring to stand up and raise the banner of “literature of resistance” (Xiao 1995, II), attacking the literary degeneration and moral decay of the times.<br /> <br /> 正如丛书主编在序言中所说，这部作品是专门写给那些当代 &quot;文学英雄 &quot;的（萧 1995，二），即某些文学理想主义者，如张炜、张震之、韩少功、余秋雨、史铁生、李锐等。他们之所以被认可，是因为他们敢于站出来，高举 &quot;反抗文学 &quot;的大旗（萧 1995，二），抨击当代的文学堕落和道德沦丧。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:29, 18 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> In publishing the Resisting Comprises series, its creators were responding to a growing domination of the literary arena by a so-called “Hooligan Movement.” According to the editor, literary hooliganism, as it were, is essentially a “language game” -- represented first and foremost by the irreverent writer Wang Shuo – with its various forms of “literary trash” including “literature of sexual promiscuity” (xingluan), “literature of leisure” (xianshi), “hack literature” (bangxian) and “sneezing literature” (penti) (Xiao 1995, II).<br /> <br /> 在出版《反抗》系列时，它的创作者是在回应所谓的流氓运动对文学领域日益增长的统治。编者认为，文学流氓，实质上是一种 “语言游戏”——首先以不敬的作家王朔为代表——其形式多样的 “文学垃圾 ”包括 “性乱文学”、“闲适文学”、“黑客文学”和 “喷嚏文学”（萧1995，二）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:19, 17 December 2020 (UTC)<br /> <br /> 通过出版《反抗》系列，创作者回应了所谓的“流氓运动”对文学领域日益增长的统治。编者认为，文学流氓主义的实质是一种 “语言游戏”——首先以不敬的作家王朔为代表，他有形式多样的 “文学垃圾 ”，包括 “性乱文学”、“闲适文学”、“黑客文学”和 “喷嚏文学”（萧 1995，二）。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:21, 18 December 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> But there are several larger social and literary issues that this project essentially addresses, namely: the loss of literary/cultural/social dominance by the intellectual elite to mass/commercial culture; the commercialization of knowledge/literature; erosion of the “humanist spirit;” abandonment of ultimate human concerns; desertion of idealism, enlightenment and such modernist projects. In the face of such upheaval, the editor describes the contemporary cultural/literary scene in China as dark and degenerate. The age is “cursed,” “tragic,” an age of “betrayal” and “surrender” (Xiao 1995, IV). And the targets of the literary/moral resistance are postmodernism, commercialism, and mass culture.<br /> <br /> 但本质上，这个计划旨在设法解决几个更重要的社会和文学问题，即文学、文化、社会的主导地位由知识精英转移到大众及商业文化;知识文学的商业化;对“人文精神”的侵蚀;对人类终极关怀的抛弃;对理想主义、启蒙主义和诸如此类的现代主义计划的放弃。面对这样的剧变，编者将中国当代文坛描述为黑暗和堕落的。这个时代是“被诅咒的”、“悲剧性的”，是一个“背叛”和“投降”的时代(肖，1995，IV)。文学和道德反抗的对象是后现代主义、商业主义和大众文化。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:09, 18 December 2020 (UTC)<br /> <br /> 但本质上，这个计划旨在设法解决几个更重要的社会和文学问题，即文学、文化、社会的主导地位由知识精英转移到大众及商业文化;知识文学的商业化;对“人文精神”的侵蚀;对人类终极关怀的抛弃;对理想主义、启蒙主义和诸如此类的现代主义计划的放弃。面对这样的剧变，编者将中国当代文坛描述为黑暗又堕落的时期。这个时代是“被诅咒的”、“悲剧性的”，是一个“背叛”和“投降”的时代(肖，1995，IV)。文学和道德反抗的对象是后现代主义、商业主义和大众文化。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:31, 18 December 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> Zhang Wei is primarily known as a novelist. His major novels include Ancient Boat, Fable of September, My Countryside, Clan, and novelle include Meditation in Autumn, Anger in Autumn, and Vineyard. [ Ancient Boat (Guchuan), Fable of September (Jiuyu yuyan), My Countryside (Wode tianyuan), Clan (Jiazu), Meditation in Autumn (Qiutian de sisuo), Anger in Autumn (Qiutian de fennu), and Vineyard (Putaoyuan) are all included in Zhang Wei wenji (Collected Writings of Zhang Wei) (Shanghai: Shanghai wenyi chubanshe, 1997).] He has also published many collections of essays. His writings collected in Anxious and Indignant Homeward Journey include essays, talks, and interviews. These essays do not express this uncompromising stance in such a strong voice and straightforward manner. Instead, Zhang poses a literary persona of moral integrity as a kind of self-representation. He appears as an idealized individual, embodying in every way pure moral qualities of both a human being and artist/writer. This idealized individual is a fighter, fighting a lonely and heroic battle against fashionable trends and any and all forms of evil (Xiao 1995, 6).[ Anxious and Indignant Homeward Journey includes both Zhang Wei’s essays as well as critical articles by various critics. In this paper I will use Xiao Xialin, the editor of this collection as the reference to provide in-text citations to essays by both Zhang Wei and other critics. ]<br /> <br /> 张炜主要以小说家闻名。他的主要小说包括《古船》、《九月寓言》、《我的田园》、《家族》、《秋天的思索》、《秋天的愤怒》和《葡萄园》。【《古船》、《九月寓言》、《我的田园》、《家族》、《秋天的思索》、《秋天的愤怒》和《葡萄园》均收录于《张炜文集》(上海:上海文艺出版社，1997)。]他还出版了许多散文集。他在《焦虑和愤怒的归途》中收集的作品包括散文、谈话和采访。这些文章没有用如此强烈的声音和直白的方式表达这种不妥协的立场。相反，张提出了以一个文学人格作为一种自我表现。他表现为一个理想化的个体，在各方面都体现了一个人和艺术家或作家的纯粹道德品质。这个理想化的人是一个战士，与时尚潮流和各种邪恶势力进行着孤独而英勇的斗争(肖 1995，6)。【《焦虑和愤怒的归途》既包括张炜的散文，也包括各种评论家的评论文章。在这篇论文中，我将使用这本文集的编辑萧夏林作为参考，为张炜和其他评论家的文章提供文本内引文。]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:09, 19 December 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> As a generous humanitarian, he loves and helps all good people. As a socially committed artist, he takes upon himself a great responsibility to all humanity. And as a serious writer, he self-consciously pursues high literature. He is also represented as an honest laborer, making a living through hard labor and sweat. As part of this self-representation, Zhang criticizes those who succumbed to moral and artistic degradation, such as those writers who choose to “enter the commercial world” (xiahai), or cater to popular low-brow tastes by writing “trash literature.”<br /> <br /> 作为一个慷慨的人道主义者，他热爱并帮助所有善良的人。作为一名致力于社会事业的艺术家，他主动承担起对人类的重大责任。作为一个严肃的作家，他自觉地追求高雅文学。他也被描绘成一个务实的劳动者，辛勤劳作、挥洒汗水维持生活。作为自我表现的一部分，张批评了那些屈从于道德和艺术堕落的人，比如那些选择“走进商业世界”(夏海)的作家，或者为了迎合大众低级趣味而写“垃圾文学”的作家。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 09:14, 17 December 2020 (UTC)<br /> <br /> 作为一个慷慨的人道主义者，他热爱并帮助所有善良的人。作为一名致力于社会事业的艺术家，他主动承担起对人类的重大责任。作为一个严肃的作家，他自觉地追求高雅文学。他也是务实的劳动者的代表，他辛勤劳作挥洒汗水来维持生活。作为自我表现的一部分，张批评了那些屈从于道德和艺术堕落的人，比如那些选择“走进商业世界”(夏海)的作家，或者为了迎合大众低级趣味而写“垃圾文学”的作家。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 02:56, 18 December 2020 (UTC)<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> He points out in his essay “Anxious and Indignant Homeward Journey” several “lacks” in many contemporary writers. First, many of today’s writers lack “self-reflexivity” (which really refers more to moral “self-reflection” or “self-consciousness” rather than intellectual self-reflexivity). They lack “conservatism,” an ability to hold to a certain kind of spirit, in which he also sees as a lack of real avant-guard spirit. They lack “intolerance,” meaning they are overly tolerant of vices and decadent practices, and rarely engage in serious, genuine, and frank criticism and debate. Finally, they lack “stable emotions” -- the definition of which is rather ambiguous.<br /> <br /> 张炜在散文《忧愤的归途》中指出了当代很多作家存在的一些“缺憾”。首先，如今的很多作家缺乏“自我反思”(实际上更多地是指道德上的“自我反思”或“自我意识”，而非理智上的自我反思)。其次他们缺乏“守旧精神”，即坚持某种精神的能力，于此张炜还看到当代作家前卫精神的缺失。他们也还不够“偏执”，过度容忍恶习和堕落的行为，很少进行严肃、真诚和坦率的批评和辩论。最后，他们缺乏“稳定的情绪”——尽管这种情绪的定义相当模糊。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 02:43, 18 December 2020 (UTC)<br /> <br /> 他在《焦急愤懑的回家之旅》一文中指出了许多当代作家的“不足”。首先，当今许多作家缺乏“自我反省性”（这实际上更多指的是道德上的“自我反省”或“自我意识”，而不是智力上的自我反省）。他们缺乏“保守精神”，这是一种坚持某种精神的能力；并且他认为作家缺乏真正的前卫精神。他们不能够坚持自我，这意味着他们对恶习和腐朽行径过于宽容，很少进行严肃、真诚和坦率的批评和辩论。最后，他们缺乏“稳定的情绪”——尽管他对于稳定这一定义相当模糊。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:22, 18 December 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> Zhang’s self-representation, then, is also a form of self-legitimization. It endows him with legitimacy through a kind of literary aura and the staking out of high moral ground. From this privileged stance, he proceeds to interpret, represent, articulate, define and judge the essence, meaning and criteria of literature, society, and human life. Throughout his essays, including interviews, talks, and lectures, we find Zhang, like a self-styled guru, constantly giving advice to college students, young writers, and literature fans on what to read, how to write, and how to live. This advice is based exclusively on a clear distinction between high and popular literature, and on his unabashed criticism of mass culture (represented by television). <br /> ==Lei Fangyuan 雷方圆==<br /> In a broader sense, we can see his self-representation as an essential reaffirmation of the traditional role that Chinese intellectuals played in society. The claim to an authoritative voice is fundamental to maintaining the privileged position of the intellectual elite within a structure of knowledge and power. Zhang’s self-representation, then, is nothing less than an attempt to reestablish the intellectual elite’s role in literature and society based on a clear distinction between high and popular literature. This power struggle for cultural dominance and hegemony in the ongoing reformation of intellectual/cultural discourse largely defines China’s socio-cultural condition in the wake of socialism. <br /> ==Lei Kuangxi 雷旷溪==<br /> Perhaps the most important part of Zhang’s essays is his use and development of the concept of “land” (tudi), which strongly conveys his self-representation as a simple yet serious “rural intellectual” (xiangcun zhishi fenzi). In his well-known essay “Immersion in the Wild Field” (rongru yiedi), the land in fact functions as a transcending metaphor. As a signifier of nature – wild fields, mountains, bushes, green crops, the ocean -- the land symbolizes all that is morally good in social and cultural realms as well as in individual’s life. The land represents a mother figure, where one can always find comfort, wisdom and inspiration. As an eternal backdrop, the land embodies eternity itself. It serves as an aesthetic standard through which the author defines the social and aesthetic functions of “pure literature,” and criticizes various aspects of cultural reality.<br /> <br /> 在张炜的文章中，最重要的部分可能是他对 &quot;土地 &quot;概念的使用和发展，这强烈地表达了他作为一个朴素而严肃的 &quot;农村知识分子 &quot;的自我形象。在他的名篇《融入野地》中，土地实际上是一个超越性的隐喻。作为自然的象征--野地、山川、灌木、绿色的庄稼、海洋--土地象征着社会、文化领域和个人生活中所有道德上的美好事物。土地代表着母亲的形象，在那里人们总能找到安慰、智慧和灵感。作为一个永恒的背景，土地体现了永恒本身。它作为一种审美标准，作者通过它来界定 &quot;纯文学 &quot;的社会功能和审美功能，对文化现实的各个方面进行批判。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 08:22, 18 December 2020 (UTC)Lei Kuangxi<br /> <br /> 在张炜的文章中，最重要的部分可能是他对 &quot;土地 &quot;概念的使用和发展，这强烈地表达了他作为一个朴素而严肃的 &quot;农村知识分子 &quot;的自我形象。在他的名篇《融入野地》中，土地实际上是一个超越性的隐喻。野地、山川、灌木、绿色的庄稼、海洋是自然的象征，而土地象征着社会、文化领域和个人生活中所有道德上的美好事物。土地代表着母亲的形象，在那里人们总能找到安慰、智慧和灵感。作为一个永恒的背景，土地体现了永恒本身。它作为一种审美标准，作者通过它来界定 &quot;纯文学 &quot;的社会功能和审美功能，对文化现实的各个方面进行批判。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:12, 19 December 2020 (UTC)<br /> <br /> ==Li Haiquan 李海泉==<br /> Zhang associates popular literature and TV culture with low class and uneducated tastes, and criticizes current literary Chinese criticism for being overly influenced by foreign literary jargons. His concept of the land is even a moral criterion through which he criticizes many aspects of contemporary modern society -- from commercialization in which money is the source of all evils, to globalization marked by domination of transnational corporations and bad influence of some foreign literature, as well as modernization represented by cellular phones, cars, and high technology.<br /> <br /> 张将通俗文学与电视文化这种低级的和未受过教育的品味联系在一起，并批评当前中国文学评论过度受到了外国文学术语的影响。他的领域概念甚至是一种道德标准。通过这种道德标准，他批判了现当代社会的各个方面——从金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:41, 16 December 2020 (UTC)<br /> <br /> 张将通俗文学与低级、无文化品位的影视文化联系在一起，并批评当代中国文学批评过度受外国文学术语影响。他的领域概念甚至是一种道德标准，他运用这种道德标准批判了现当代社会的方方面面——从商金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和科技为代表的现代化。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 14:56, 16 December 2020 (UTC)<br /> <br /> 张将大众文学和电视文化与低级趣味和没有文化的品味联系在一起，并批评当前中国的文学批评过于受外国文学术语的影响。他的领域观念甚至是一种道德标准，通过这种标准，他批评了现当代社会的许多方面——从以金钱为万恶之源的商业化，到以跨国公司的支配和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:21, 17 December 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> But most of all, Zhang’s concept of land symbolizes an ideal based on ages old dichotomy between city and countryside. At the beginning of the essay, he tells us: “[The] city is a willfully and recklessly modified wild field, and I will eventually leave it” (Xiao 1995, 19). Later he claims that a real artist should be “a worshiper of land” (Xiao 1995, 60). To Zhang, the spirit of “land” should be the spirit of the age (Xiao 1995, 241). Seen in the context of his criticism of modernization, it is evident that this dichotomy is built around the moral distrust of the city – a psychological complex that traces back to Chinese agrarian tradition and Mao’s revolutionary heritage. At the same time, it reveals a profound nostalgia for a pre-modern rural existence.<br /> 但最重要的是，张先生对于土地的概念象征着一种古老的城乡对立的观念。在文章的开头，他告诉我们。&quot;[城市]是一片被肆意改造的野地，我终将离开它&quot;（萧1995，19）。后来他声称，一个真正的艺术家应该是 &quot;土地的崇拜者&quot;（萧1995，60）。在张先生看来，&quot;土地 &quot;的精神应该是时代的精神（萧1995，241）。从他对现代化的批判来看，这种二元对立显然是基于对城市道德不信任而建立起来的--这种心理情结可以追溯到中国的农耕传统和毛泽东的革命传统。同时，它也透露出对现代社会以前农村生活的深刻怀念。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:07, 16 December 2020 (UTC)Li Lili<br /> <br /> 但最重要的是，张先生的土地概念象征着一种基于古老的城乡对立的理想。在文章的开头，他告诉我们。&quot;[城市]是一片被肆意改造的野地，我终将离它而去&quot;（萧1995，19）。后来他声称，一个真正的艺术家应该是 &quot;土地的崇拜者&quot;（萧1995，60）。在张先生看来，&quot;土地 &quot;精神就是时代精神（萧1995，241）。从他对现代化的批判来看，这种二元对立显然是围绕着对城市的道德不信任建立起来的--这种心理情结可以追溯到中国的农耕传统和毛泽东的革命传统。同时，也透露出对先前农村生活的的深刻怀念。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 00:57, 17 December 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> The Land, then, points to an ideal transcendent realm, closed to contamination by the modern world. But represented only in highly literary, allusive, emotive language and nature images and analogies, the idea of the Land only comes across as very abstract and unreal. The author himself asks: “What exactly is the wild field? Where does it exist? Does it really contain my innocent world I imagine?” (Xiao 1995, 30). Indeed, as an all-encompassing and pervasive metaphor, The Land is never once in his essays clearly and objectively defined. Whether expressed as a personification of the mother figure, an embodiment of eternal being, or as a constellation of various ideal qualities and values, Zhang’s “land” lacks the substantial tour-de-force as a moral and social metaphor. But if we are to discover an ontological anchoring for this concept, it can only be found, I would argue, in his well-known novel Fable of September. <br /> ==Li Liqin 李丽琴==<br /> In reading this novel, I will focus on the dialectic between its strikingly postmodernist form -- which he criticizes and whose influences he constantly denies --and its pre-modern content (in terms of the primitive agrarian existence represented and the mode of storytelling used). I find nothing to criticize in Zhang’s use of magic realism and certain postmodernist techniques to recapture the so-called original world of pre-modern existence. I do find a glaring contradiction, however, in the author’s repeated denial of any positive influence of postmodernism. This, together with his unqualified valorization of “The Land” as a metonymy of a primitive utopia, only betray not so much his literary hypocrisy as his limited ability to understand modernity, postmodernism and even history itself.<br /> <br /> 阅读此书时，我将重点关注后现代主义形式——虽然他一直予以批判并极力否认其影响——与前现代主义内容之间的辩证关系（主要从其所代表的原始农业生活与文章使用的叙事模式这两个方向进行阐述）。张炜运用魔幻现实主义和某些后现代主义的手法再现了所谓的现代以前的原始世界，这一点无可厚非。然而，作者一再否认后现代主义的积极影响，这是我觉得矛盾点所在。这一矛盾点，再加上他毫无保留地将《远河远山》隐喻为原始乌托邦这一行为，与其说暴露了他的文学虚伪性，不如说这暴露了他在理解现代性、后现代主义乃至历史本身的不足。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:41, 16 December 2020 (UTC)<br /> <br /> 在读这本书的过程中，我将重点关注后现代主义的形式——虽然他一直对其予以批判并极力否认其影响——与前现代主义内容之间的辩证关系（主要从其所代表的原始农业生活与文章使用的叙事模式这两个方向进行阐述）。张炜运用魔幻现实主义和某些后现代主义的手法再现了所谓的原始世界，这一点无可厚非。然而，作者一再否认后现代主义的积极影响，这就是矛盾所在。这一矛盾之处，再加上他毫无保留地将《远河远山》隐喻为原始乌托邦的行为，与其说暴露了他的文学虚伪性，不如说这暴露了他在理解现代性、后现代主义乃至历史本身的不足。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:26, 17 December 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> In contrast to his essays, which tend to be didactic, long-winded, condescending, and full of literary clichés, Zhang’s novel ''Fable of September'' is a fascinating and imaginative piece of writing. It is best situated in the genre of fictional history -- not a fictionalized account of real historical figures and events, but a pure fiction, written in a historical mode. Other examples of this way of, say, tracing the fictional history of a person, a family, or a village, include Su Tong’s Maple Tree Village series, or Ge Fei’s fictional biography, ''Marginality.'' Given its fragmented, incoherent story and sophisticated narrative plot, it is a challenge to give the novel a concise, accurate description.<br /> <br /> 与说教、长篇大论、屈尊俯就、充满文学陈词滥调的散文不同，张炜的小说《九月寓言》是一篇引人入胜、富于想象力的作品。这是一篇典型的虚构历史类型的文学作品——不是对真实历史人物和事件的虚构叙述，而是以历史的模式写成的纯粹虚构的作品。运用这种方法的其他例子，如追溯一个人、一个家庭或一个村庄的虚构历史，包括苏童的“枫杨树村”系列和格非的虚构传记小说《边缘》。考虑到小说中支离破碎、不连贯的故事和复杂的叙事情节，给这部小说一个简洁、准确的描述是一个挑战。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 14:08, 16 December 2020 (UTC)<br /> <br /> 与他那些倾向于说教、长篇大论、屈尊俯就、陈词滥调的散文不同，《九月寓言》这部小说引人入胜。这是一篇典型的虚构历史文学作品——不对真实的历史人物和事件进行虚构叙述，而是一篇以历史的模式写成的虚构作品。这种手法同样运用于追溯某个人、某个家庭或某个村庄的虚构历史，包括苏童的“枫杨树”系列作品与格非的虚构传记小说《边缘》。由于这部小说故事叙述支离破碎、叙事情节复杂，因此简洁准确地描述它着实是一个挑战。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:58, 16 December 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> In general, the novel depicts a “historical” picture in which a small pre-modern, self-contained village is obliterated by industrialization. But what the novel really focuses on, instead of village’s fall itself, are certain memorable events and people that are part of the last 30-40 years of its existence (though the exact length of time remains questionable and unclear). <br /> The novel is divided into seven parts, each focusing on stories of a single character or family. These stories are mutually connected, and at the same time intermingled with myths, legends, anecdotes and magical or strange occurrences, which in turn map out a sort of “history” of the village. <br /> ==Li Yongshan 李泳珊==<br /> Ironically, however, history is not quite the right term here to describe the village’s temporal contour, for what stand out as the central features in the life of the village are “land”/food (more specifically sweet potatoes), the tradition of staying with the village, and a certain mode of storytelling used in the village to recall past suffering. As quintessential indexes in the village’s existence, these features mark not a temporal movement but an eternal being. Centered on these three essentials, life in the village is hard, simple, unchanging, and close to the archetypal. The only way for the young to use up their abundant and restless energy is to run and play in the wild fields at night, and the married to beat their wives and do “cupping” (''ba huoguan'').<br /> ==Li Yu 李玉==<br /> Thus what Zhang Wei aims to represent in this novel is a pure, simple, close-to-primitive life, uncontaminated by modern civilization. But he is also representing a sense of eternal being, long lost as it may be in our modern age. <br /> The novel is undoubtedly imaginative and fascinating. My sense of fascination as a reader, however, is derived largely from its mode of literary representation than from what is actually depicted in Zhang’s fictional world. Part reality, part myth, part legend, the story is at once mythical and real. It is a synthesis of straightforwardness and artifice, primitivism and mannerism, thematic simplicity and formal sophistication. In other words, in order to represent a pre-modern agrarian existence – Zhang’s utopian vision of pure being – he relies on quite sophisticated modernist/postmodernist literary devices. <br /> ==Lin Min 林敏==<br /> Perhaps the most striking feature of the novel, as many critics have noted, is its formal manipulation of temporality, or to be more specific, the narrative negation of temporality. It is almost impossible for the reader to discern the actual timeline of the village’s history. Even the time span running from the 1930s to 1970s and temporal progression within the narrated world (which can only be pieced together after repeated readings), are unreliable, full of unexplainable loopholes. [ For the full discussion on the novel’s temporal scheme, see Chen Sihe’s “Huanyuan minjian: tan Zhang Wei ''Jiuyue Yuyan''”(Returning to the people: on Zhang Wei’s ''Fable of September'') collected in Youfen de guitu (Indignant Homeward Journey) 260-267.] <br /> <br /> This unusual narrative stance achieves a number of thematic effects. First, it cuts the village off from the larger movement of history. The novel mentions no political movements, significant historical events, or chronology of dates other than “September.” <br /> ==Lin Xin 林鑫==<br /> The only other temporal indicators are rainy seasons, or periods of winter when the snow is as sharp as strong acid, or autumn when the field is abundant with sweet potatoes and beans. These seasonal markers indicate changes more in nature than in the human world where chronological dates mark time. These markers of nature serve to draw the story further away from a real historical framework and closer to the pre-modern agrarian mode of existence, as if human life was “timed” by nature itself. Furthermore, this kind of temporal negation also foregrounds eternity in the land itself. Wherever any historical hint or political implication may crop up in the story, it is immediately dissolved into one of many village legends.<br /> <br /> 唯一的时间指标是雨季，抑或是冬季鹅毛大雪，或者是秋季田野里盛产红薯和豆子的时期。这些季节性标志比人类世界中的时间标志，比如年、月、日，更能在本质上表明变化。这些自然界的标志物的作用是使故事进一步远离真实的历史框架，而更接近于前现代的农业生存模式，仿佛人类的生活是由自然本身&quot;定时&quot;的。此外，这种时间性的否定也预示着土地本身的永恒性。凡是故事中可能出现的任何历史暗示或政治意味，都会立即被消解为众多乡村传说中的一种。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 13:11, 18 December 2020 (UTC)<br /> <br /> ==Ling Zijin 凌子瑾==<br /> For instance, “recalling past suffering” (yiku), an important collective activity of the village, is transformed from a political discourse used during the Cultural Revolution into a form of storytelling for binding the village community together, and for producing oral history and creating legends. In essence, history is erased from the village’s background all together. <br /> The novel’s detachment from historical background also means a metaphysical negation of historical paradigm of interpretation and signification, characterized by such notions as causality, progress and teleology. This allows the author to have a larger space for interaction of diverse configurations. As critic Chen Sihe points out, Zhang’s village exists in three forms: in reality, in legend/myth, and in oral storytelling (Xiao 1995, 265).<br /> <br /> 如“忆苦”，作为村落重要的集体活动，从“文革”时期的政治话语，转变为凝聚村落社群、口述历史、创造传说的叙事形式。从本质上说，历史被从村庄的背景中抹去了。<br /> <br /> 小说脱离历史背景也意味着形而上学地否定解释和意义的历史范式，其特征是诸如因果关系、进步和目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和指出的那样，张的村庄存在三种形式:现实中的，传说/神话中的，口头讲故事的(Xiao 1995,265)。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 14:41, 16 December 2020 (UTC)<br /> <br /> 如“忆苦”，作为村落重要的集体活动，从“文革”时期的政治话语，转变成为了凝聚村落社群、口述历史、创造传说的叙事形式。本质上，人们将历史完全从村庄的背景中抹去了。<br /> <br /> 小说脱离历史背景也意味着形而上学地否定了解释和意义的历史范式，其特征是诸如因果关系、进步和目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和指出的那样，张的村庄以三种形式存在着:现实中的，传说和神话中的，口头故事中的(Xiao 1995,265)。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:21, 17 December 2020 (UTC)<br /> <br /> ==Liu Bo 刘博==<br /> However, the absence of a clear-cut time framework only blurs and transgresses the ontological boundaries among reality, myths, legends, the magic and storytelling. The novel abounds with magical, mythical, and supernatural figures and events: Niugan’s body was air-dried for a period of time before his actual death. A man named Jinyou can squeeze milk from his breasts. Another man’s eyeball jumps out and changes into a frog, disappearing into grass. The mother of Longran does not die after drinking pesticide; instead, her hairs have become darker, and skin softer. Very much like in Gabriel Garcia Marquez’s ''One Hundred Years of Solitude'', these magical events are presented in a realistic mode on the same ontological level as other “real” events.<br /> ==Liu Jinxingqi 刘金惺琦==<br /> In other words, the magic is approached through the everyday. And the transgression of ontological levels of representation thus further negates historical temporality. <br /> <br /> The absence of historical time in the novel also negates historical interpretation. Instead, myths and legends assume the function of historical explanation. The origin of the small village is explained in a myth about a group of vagrants who, exhausted after a long journey, stopped, and settled on a piece of land that could provide them with food. The story of the monkey spirit with the ability to carry things becomes a mythic explanation of social stratification and exploitation, a further departure from historical and positive discourses. <br /> ==Liu Liu 刘柳==<br /> These myths and legends are presented as part of the village’s everyday reality. Thus different ontological levels within the text – reality and myth/legend/oral storytelling/magical events -- in which the village exists collapse into one. It is a world in which past and present become all-at-once. In other words, the past is the present, the myth is reality, and vice versa. The timeless place is like a sentence without tense. And herein lies the author’s profound sense of nostalgia for a fundamental, archetypal existence in its complete nakedness, beyond modern historical and rational configurations. <br /> <br /> As Nan Fan points out, though the temporal span of the novel is not long, its content is massive, filled as it is with various stories (Xiao 1995, 253).<br /> <br /> 这些神话和传说是作为村庄日常现实的一部分呈现的。因此，文本中不同的本体论层面—现实和神话/传说/口头故事/神奇事件—村庄存在于其中，合二为一。这是一个过去和现在都成为一体的世界。换句话说，过去就是现在，神话就是现实，反之亦然。永恒的地方就像一个没有时态的句子。而作者对一种完全赤裸裸的、超越现代历史和理性配置的根本性、原型性存在的深刻怀念感就在于此。<br /> <br /> 正如南帆所指出的，虽然小说的时间跨度不长，但其内容却是庞大的，充满了各种故事（萧1995，253）。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:37, 16 December 2020 (UTC)<br /> <br /> 这些神话和传说作为村庄日常现实的一部分呈现出来。因此，文本中不同的本体论层次——现实和神话/传说/口头讲故事/魔法事件——村落的存在瓦解为一个整体。这是一个过去和现在同时成为一切的世界。换句话说，过去就是现在，神话就是现实，反之亦然。永恒的地方就像一个没有时态的句子。在这里，作者对一种基本的、原型的、完全赤裸的、超越现代历史和理性结构的存在有着深刻的怀旧之情。<br /> 南帆指出，小说的时间跨度虽然不长，但内容却很宏大，充满了各种各样的故事(肖1995,253)。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 14:43, 16 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> If the macro-structure of the novel is characterized by narrative strategies of postmodernist fragmentation and transgression, then at the micro-structure of individual stories the pre-modern form of Benjaminian storytelling becomes the dominant mode of narrative. “Recalling past suffering” is in fact in the typical mode of storytelling. The narrative tells us that in those long and cold winter nights when rain turned into snow, when there were nothing else to do for the rural folks, all villagers of the Small Village would gather together to listen to Jinxiang, one of the principal storytellers in the village, to recall past suffering. Here Jinxiang functions in the role that Water Benjamin describes: the giver of stories, of counsel, the link to a mythic but necessary past.<br /> ==Liu Yangnuo 刘洋诺==<br /> Through storytelling, the storyteller’s personal experiences mixed with the mythic and magic become the collective experiences of the village, binding the village together, and providing it not only with a sense of community but also a sense of identity. Interestingly, the villagers prefer only the storytellers in their own village to tell of past. Thus, in relating his own experience and that reported by others, the storyteller in turns makes it the experience of those who are listening to his tale (Benjamin 1968, 87). In a way, Jinxiang perfectly embodies Benjaminian storyteller as the one who, in his storytelling, also gives counsels to the listeners -- the young in this context -- to value the happiness of the present and therefore stay with the tradition.<br /> ==Liu Yi 刘艺==<br /> Jinxiang’s story telling demonstrates the power of the oral, in that his performance has potential for moving beyond rational control. He tells stories spontaneously and with great emotion, often with tears and slobbers and shouts at each stop. His dynamic orality controls the whole atmosphere of the meeting and carries the listeners to multiple emotional climaxes. Thus in the highly emotionally charged atmosphere of telling and listening marked by crying and shouting, the teller and listeners identify completely with one another. As a storyteller “in his living immediacy” (Benjamin 1968, 83), Jinxiang is thus an integrate part of the pre-modern rural existence based on its closely-knit community, the shareable experiences, and a fund of stories and lore.<br /> <br /> 金祥的讲故事展现了口述的力量，他的表演具有超越理性控制的潜力。他讲故事时自然而然，感情充沛，每到一站，往往泪流满面，口水直流，大呼小叫。他的动态口述控制了整个会场的气氛，并将听众带入多个情感高潮。因此，在以哭和喊为标志的高度情绪化的讲和听的氛围中，讲者和听者完全相互认同。作为一个 &quot;活生生的即时性 &quot;的讲故事的人（Benjamin 1968, 83），金乡是前现代农村生活的一个组成部分，其基础是其紧密联系的社区、可分享的经验以及故事和传说的基金。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:37, 16 December 2020 (UTC)<br /> 金祥的故事讲述展现了口述的力量，他的表演具有超越理性控制的潜力。他很自然地讲述故事，感情充沛，一停下来，往往泪流满面，口水直流，大呼小叫。他那充满活力的口述控制了整个会场的气氛，并将听众带入多个情感高潮。因此，在以哭和喊为标志的高度情绪化的讲和听的氛围中，讲者和听者完全相互认同。作为一个 &quot;活生生的即时性 &quot;的讲故事的人（Benjamin 1968, 83），金乡是现代以前农村生活的一个组成部分，以前的农村整个乡村紧密联系、人们互相交流经历，还流传着大量的传说和故事。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:24, 16 December 2020 (UTC)Li Lili<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> And this pre-modern rural existence can only be narrated and made sense of through the mode of storytelling, for the specific sense of historicity and experience of reality as mixed with myth, legend, the magical transgress normal parameters of our modern and rational paradigm of representation. <br /> <br /> Thus the synthesis of the pre-modern, marked by both its existence and the mode of storytelling, and postmodernist mannerism with its sophisticated narrative strategies also points to an irony, in that this natural, pre-modern world can only be re-presented in very stylized devices. Here Zhang Wei encounters a similar paradox as the famous Taoist icon, Zhuang Zi. In spite of his distrust of language, Zhuang Zi could only envision the ineffable Way through language.<br /> <br /> 而这种前现代的乡村只有通过故事的方式才能被叙述和理解，因为与神话、传说、魔幻混杂在一起的特定的历史感和现实体验，超过了我们现代和理性表述模式的正常感受。 <br /> <br /> 因此，前现代的存在和故事模式，以这两者为标志的前现代与后现代主义方式主义以其复杂的叙事策略综合，也偏向了讽刺，即这个自然的、前现代的世界只能用非常风格化的手段来重新呈现。在这里，张炜遇到了与著名道教代表人物庄子类似的悖论。庄子尽管怀疑语言，但他只能通过语言来设想不可言说的道。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:06, 18 December 2020 (UTC)<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> In other words, it was through language, given humanity’s permanent separation and alienation from nature, that Zhuang Zi could imagine the existence of something beyond. Zhang Wei’s pre-modern being is by no means ineffable. Yet, its “otherness” and its alterity vis a vis the modern world can only be perceived in our modern world, and represented through sophisticated devices of modernism/postmodernism. The absolute irony that the primitive or the pre-modern cannot be envisioned and represented except in our modern cultural condition in fact exists in the very center of this utopian text, though unrealized by the author himself as he repeatedly criticizes postmodernism and denies its inevitable influence. <br /> ==Lou Cancan 娄灿灿==<br /> So the natural or the pre-modern state of being as eulogized by the author is no longer the first order of naturalness, but the second order, for it is only through an elaborate narrative architecture that such primitivism and naturalness can be re-enacted. To put it in another way, in resurrecting the primitive in our postmodernist age, the author in fact brings out, though unconsciously, a fundamental truth about primitivism. The natural, organic and a-temporal world of agrarian existence represented by the Small Village is not, in fact, a utopia from which we have fallen. Rather, it derives its meaning only through its opposition to a temporal world of modern civilization. Only in contrast to this temporal world can the primordial, the timeless take on meaning as negation of historical time. <br /> ==Luo Weijia 罗维嘉==<br /> Thus the ideal of a timeless, primordial rural past beyond modern civilization is only an ideal created in our modern times.<br /> <br /> In my discussion of modernist/postmodernist literary devices, I do not mean to label and categorize Zhang’s text as a modernist/postmodernist. Nevertheless, as seen in the above analysis, his formal strategies do share some strong features of postmodernism, or to be specific, magical realism. These features include boundary transgression, fusion and coexistence of different ontological worlds, and atemporal narrative structure. There is no doubt that Zhang Wei has succeeded in creating a world, a state of being beyond the reach of modern civilization. But his “world,” in the final analysis, can only be represented through modernist/postmodernist techniques. <br /> ==Luo Yuqing 罗雨晴==<br /> It is evident that the creation of this archetypal village embodies the author’s profound nostalgia for the pre-modern past and his utopian search for an ideal state of being. And this timeless place represents the author’s attempt to re-orient geographical and cultural nostalgia in China’s contemporary times from commercially stimulated nostalgia to the rural past as the fundamental Chinese root. Yet the lack of direct temporal and spatial references in the presentation of the Small Village makes his nostalgia closer to imagination, or to what David Wang called, imaginary nostalgia (1993, 107). In other words, his nostalgic representation of the Small Village is devoid of actual memory. This is particularly demonstrated in his deliberately designed a-temporal narrative structure, his foregounding of myth, legends and those magical events. <br /> ==Ma Juan 马娟==<br /> Moreover, as the title indicates, the whole novel is intended by the author as a fable, rather than a history, even though it is written in a historical mode. The village’s mythic origin, its lack of sense of time, and its sudden and catastrophic ending all point to the negation of historical progression. The elaborate narrative structure betrays the imaginative and fantastic construction of this mythic past. Thus Zhang Wei’s Small Village is less a historical object of nostalgia than a topographical/textual locus where imagination and utopian discourse intermingle. In other words, as a literary construction, this phantom village comes less from the actual yearning for what has been lost than from the desire for what has never been there (Wang 1993, 130). <br /> ==Ma Shuya 马淑雅==<br /> The striking incongruity indicates the nature of nostalgia as both a textural stance as well as a structure of feeling. <br /> <br /> Nevertheless, the incongruity between formal sophistication and primitive existence is a very hallmark of literary and cultural production in our postmodernist China. In discussing the Fifth Generation Films, Rey Chow points out that primitivism is often associated with modernism/postmodernism. The “primitive passion,” according to Chow’s definition, emerges at “a moment of cultural crisis.” It is an invented fact, fabrication of a sense of the primordial, rural rootedness that occurs in the post-construction (1995, 22-23). Chow’s theory of primitive passion is based on her study of new Chinese cinema.<br /> ==Ma Zhixing 马智星==<br /> However it does shed light on our discussion of Zhang’s profound nostalgia for the rural past at the age of globalization, and on the ironic rupture between postmodernist sophistication and the pre-modern/primordial world presented in his novel. Read in intertextual relation with his essays, it is more than clear that Zhang’s re-imagining of the primordial Chinese rural past is meant to correct what he perceives as the diseased modernity and to rejuvenate Chinese culture. As a response to the cultural crisis in our globalized age, Zhang Wei has chosen the past to measure the present. <br /> <br /> The nostalgic return in Zhang Wei’s writings is in fact a kind of self-exile. Zhang Wei actually spent five years in a rustic country house (soon to be torn down) near his hometown to write this novel. <br /> ==Meng Ying 孟莹==<br /> There he was literally cut off from the outside world, expecting that this exile away from modern cities would get him spiritually closer to the land and nature so as to feel anew the vitality of the Chinese people, and rediscover the historical/rural root of Chinese culture. As agreed by all critics, this novel’s representation of the primordial past succeeds in bringing out a native naiveté and simplicity, a sense of gushing life force and animal virility -- the ideal form of being. However, in de-historicizing the past in order to re-imagine the golden age of the rural innocence and plenitude of meaning, the author had no alternatives but to simply let narrative play out its historical inevitability.<br /> ==Mo Ling 莫玲==<br /> The pre-modern agrarian existence embodied by the Small Village is ultimately destroyed by modern industrialization. History then, though negated and erased by the narrative form of the novel, reasserts itself at the end. This leaves us not with a story about the slow decline of this pre-modern agrarian existence, but of its catastrophic fall. The structure of the village’s existence was in no way able to change and transform itself. This is demonstrated by the villagers’ strong resistance to outside influences represented by coal mining industry. As a result, rather than gradual transformation, the village is suddenly destroyed by industrial machine power.<br /> <br /> 最终，现代工业化抹杀了小村庄所展现出的前现代农业文化。那时的历史虽因小说的叙事形式而遭否定和抹去，但在结尾时又重新跃然纸上。它为我们展现的并不是前现代农业文化缓慢地销声匿迹，而是其灾难性的衰落。这个村庄的存在结构决定了它无法自变，村民强烈抵制受到来自外界煤矿业的影响就是一个很好的证明。结果，这个村庄并没有逐步转型，而是突然摧毁于工业机器的动力。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:26, 17 December 2020 (UTC)Mo Ling<br /> <br /> 小村庄所体现的前现代农业生存最终被现代工业化所摧毁。那么，历史虽然被小说的叙事形式所否定和抹杀，但却在结尾处重新出现。这给我们留下的不是这个前现代农业缓慢衰落的故事，而是它灾难性的崩溃。村庄的生存结构是无论如何无法自变的，这表现在村民对以采煤业为代表的外界影响的强烈抵制。结果，这个村子不是逐步转型，而是突然被工业机器力量所摧毁。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:10, 18 December 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> The moral dilemma Zhang faces in re-enacting of the Chinese rural past is similar to those encountered by root-seeking writers: the quest for the essence of “Chineseness” also leads to the discovery of unpleasant aspects in its society and cultural tradition. This moral dilemma is also reflected in the novel’s narrative form. While magical events serve to deconstruct the realist paradigm of historical representation, they at the same time also create a picture of rural life as something exotic. As David Wang points out, the object of nostalgia is also easily associated with the exotic (1993, 109). <br /> <br /> So if we have found some substance in Zhang’s novel to support his transcendent, yet empty metaphor of “land,” this “substance” remains less than compelling and appealing. <br /> ==Nie Xiaolou 聂晓楼==<br /> A primitivistic village life can be little more than that: it is basic and instinctual, centering on food and sex. The meaning of land is closely related to food; indeed the reason the villagers stick to this land is because it can produce rich food enough to preserve their community. The carnivalesque scenes describing the village young romping in the wild fields at night, while highly acclaimed by many Chinese critics, do not, to my mind, represent an infinite solitude or a simple form of joy as much as the poverty of these lives in an extremely closed and impoverished world. This strikes an even more pathetic chord when knowing that this form of exercise will soon be transformed into wife beating and cupping when these young people grow into adulthood.<br /> ==Ou Rong 欧蓉==<br /> The extremely stable pattern of the village’s social customs, mindset, and traditions is incapable of absorbing new things, or initiating any transformation. So the static and cyclical form of existence is simply erased by the outside forces of industrialization. In a broader sense, the history of the Small Village, or rather, its fate can be seen as an allegory for Chinese traditional society which was also forced into fundamental change from the outside. Thus the Small Village reflects the broader historical impotence and lack of cultural flexibility in traditional rural China. Many critics, including the author himself, argue that the idea of Land is meant to represent a certain spirit. Nevertheless, unless located somewhere, this spirit can only remain an empty structure.<br /> ==Ouyang Jinglan 欧阳静兰==<br /> Nevertheless, it is precisely this structural emptiness that enables Zhang Wei to fill in many meanings throughout his essays. <br /> <br /> ''Fable of September'', as well as Zhang’s essays, embody his search for truth and a moral ground based not on the rationally constructed modern world of scientific knowledge and market economy represented by urban centers, but on the simplicity of rural life. This search is rooted in the author’s disenchantment with certain aspects of modern civilization. To Zhang Wei, “Modern industrial civilization represents a form of beauty; yet this form is prone to hurt another more fundamental, more eternal beauty. Idealists all hope that these two forms of beauty can exist in harmony, without much conflict.<br /> ==Ouyang Ling 欧阳玲==<br /> But of course, this hope is only a dream” (Xiao 1995, 193). This distrust of modern civilization also reflects in him what Raymond Williams called “rural-intellectual radicalism” (1973, 36). Indeed, as a rural intellectual (as many critics have labeled him), Zhang demonstrates many aspects of rural-intellectual mentality: hostile to modern capitalism, opposed to commercialism, and attached to country ways and feelings (Williams 1973, 36). Without doubt, ''Fable of September'' is a fascinating novel and has uttered our deepest longings and profoundest nostalgia for a pre-modern simplicity of existence free of modern-day ills like alienation and corruption.<br /> <br /> <br /> ......当然，这份希望只是幻梦一场”（萧夏林 1995,193）。张炜的作品也体现了对现代文明的不信任，雷蒙德·威廉姆斯称之为“乡村知识分子激进主义”(威廉姆斯 1973, 36)。确实，张炜作为一名乡村知识分子（许多批评家如此标榜他），在作品中展现了乡村知识分子的多个心理面貌：对现代资本主义的敌意，对商业主义的反抗，对乡村风情的依恋(威廉姆斯 1973, 36)。毋庸置疑，《九月寓言》是一部引人入胜的小说，它表达出了现代人对过去的那种简单生活浓浓的渴望和怀旧之情，那个时候不像现代社会这样，存在人与人之间的疏离和腐败。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:00, 17 December 2020 (UTC)<br /> <br /> 但当然，这种希望只是一个梦想“（萧夏林 1995，193）。 这种对现代文明的不信任也反映了雷蒙德·威廉姆斯所谓的“农村-知识分子激进主义”（威廉姆斯 1973，36）。 事实上，作为一名农村知识分子（正如许多评论家给他贴上的标签），张炜展示了农村知识分子心态的多个方面：敌视现代资本主义，反对商业主义，对乡村风情的依恋(威廉姆斯 1973，36)。 毫无疑问，《九月寓言》是一部引人入胜的小说，它表达出了现代人对过去的那种简单生活深切的渴望与怀念，那个时候不像现代社会这样，存在人与人之间的疏离和腐败。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 11:54, 17 December 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> Nevertheless, Zhang’s use of the central concept of “land” (referring to an idealized being) as the basis for his critique of modern civilization – decrying moral decay, consumerism, dominance of popular literature and commercialization of knowledge – and his rural intellectual mentality this concept reveals betray the author’s simple-minded, essentialist, and absolutist approach to the complexity of an ever changing social and cultural reality. The reification of land in his essays lacks a broad and deep historical perspective on Chinese modernity. Commercialism and its culture have by all means contributed to the general moral decay and erosion of basic humanistic values in society, and global cultural effects lead to profounder cultural crisis.<br /> <br /> 然而，张使用“土地”的中心概念（指理想化的存在）作为他批判现代文明的基础-谴责道德沦丧、消费主义、大众文学的主导地位和知识的商业化-以及他的知识分子心态-这一概念揭示了作者对不断变化的社会和文化现实的复杂性的朴素、本质主义和绝对主义的态度。 在他的散文中，土地的再化缺乏对中国现代性的广泛而深刻的历史视角。 商业主义及其文化通过各种手段促成了社会基本人文价值的普遍道德沦丧和侵蚀，全球文化效应导致了严重的文化危机。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 11:46, 17 December 2020 (UTC)<br /> <br /> 然而，张把“土地”（指理想化的存在）的中心概念作为他批评现代文明的基础——谴责道德沦丧，消费主义盛行，流行文学盛行，知识商业化——这一概念揭示了他作为农村知识分子的心态，思想单纯，本质主义，以及对不断变化的社会和文化现实的复杂性采用绝对主义方法。他散文中土地的物化缺乏对中国现代性采用广阔而深刻的历史视角。商业主义和它的文化无疑导致了道德上的沦丧，也侵蚀了社会中基本的人文价值，全球文化效应导致了更深层次的文化危机。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 01:10, 18 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Peng Juan 彭娟==<br /> However, the absolute rejection of consumerism, globalism, and postmodernism fails to recognize their power and inevitability in restructuring contemporary Chinese society. The problems created by these developments have already moved the issue of solution beyond a discourse on morality. China’s ever more complex and changing social and cultural reality requires a more sophisticated and mature understanding. And finally, I would suggest that in today’s post-Cold War age in which socialism-capitalism antithesis has lost its relevance and meaning, the intellectual paradigm of confrontation must be replaced by one of negotiation. Nostalgia may always be pulling at us, and we may always be willing to indulge in a trip to the imagined past with stories like ''Fable of September.'' But as a critical stance, it does not equip us to effectively address the complex process of cultural reformation happening in contemporary Chinese and the world.<br /> <br /> Works Cited（不用翻）<br /> <br /> Chow, Rey, Primitive Passions, (New York: Columbia University Press, 1995)<br /> <br /> Benjamin, Walter, Illuminations, (New York: Schocken Books, 1968) <br /> <br /> Widmer, Ellen, and Wang, David Der-Wei, ed., From May Fourth to June Fourth, (Cambridge: Harvard University Press, 1993)<br /> <br /> Williams, Raymond, The Country and the City (New York: Oxford University Press, 1973)<br /> <br /> Xiao Xialin, Youfen de guitu (Anxious and indignant homeward journey) (Beijing: Huayi chubanshe, 1995)<br /> <br /> Zhang Chengzhi 1991, History of the Soul (Guangzhou: Huacheng chubanshe, 1991) 311.<br /> <br /> Zhang Chengzhi 1994a, The Heroes’ Paths in Wilderness (Shanghai: Zhishi Publishing House, 1994)<br /> <br /> Zhang Chengzhi 1994b, “Poets, Why aren’t you indignant?”, in Wenhui Bao (Wenhui Daily, Shanghai) (August 7, 1994) <br /> <br /> Zhang Chengzhi 1999a, Wuyuan de sixiang (Unassisted Thoughts) (Human wenyi chubanshe, 1999)<br /> <br /> Zhang Chengzhi 1999b, “My Method of Tearing up those Business Cards,” in Zhang 1999a<br /> <br /> Zhang Chengzhi 1999c, “Zaizhi xiansheng,” in Zhang 1999a 100-105<br /> <br /> Zhang Wei, Jiuyue yuyan (Fable of September), in Zhang Wei wenji (Collected works of Zhang Wei). Vol. 2 (Shanghai: Shanghai wenyi chubenshe, 1992)<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> '''Deciphering the Populist Gadfly: Cultural Polemic around Zhang Chengzhi's &quot;Religious Sublime&quot;''' <br /> <br /> ''Xinmin Liu<br /> <br /> ''<br /> '''Abstract<br /> '''<br /> <br /> Since mid-1990s the Chinese Sanwen has witnessed an upsurge by way of frantic polemics over social and cultural issues in journals, newspaper fueillton, book series and forums. In this &quot;war of words,&quot; no writer has been as prolific, as provocative and as problematic as Zhang Chengzhi. <br /> <br /> Zhang's essays feature a scathing critique of Chinese intellectuals' lack of spiritual faith, their surrender to global consumerism and the postmodern. Driven by a populist zeal, Zhang extols Chinese muslims' devotion to their religious faith, defiance of material affluence and bond to their harsh yet unsullied habitat. His populist approach to religious transcendence in opposition to what he perceives as today's intellectual disenchantment is ambiguous and ambivalent. <br /> ==Peng Xiaoling 彭小玲==<br /> It wavers between subaltern politics and religious fundamentalism. It falls short of the prospect of constructing a ethnic pluralism that protects cultural differences without yielding to cultural positions that claim unique access to truth.<br /> <br /> In a polyglot age in which all has to be contested and negotiated anew, boundary- violating is the rule rather than the exception. Before the last millennium closed out, the Chinese essay thrived in an upsurge of cultural polemics, but in terms of aesthetic and ontological norms, the essayists could ill afford to stay within secure and clear-cut boundaries for long, because they often found themselves bombarded and displaced by a plethora of slippery issues, wacky themes and “roguish dilettantes.”<br /> <br /> 它在次要政治和宗教原教旨主义之间摇摆。它没有建立一种可以保护文化差异而又不屈服于声称通过独特途径获得真理的文化立场的民族多元主义前景。<br /> <br /> 在一个必须重新竞争和协商的多语言时代，违反边界是规则而不是例外。在上个千禧年结束之前，中国散文在文化争论中兴起。但就美学和本体论规范而言，由于经常被众多滑溜的问题，古怪的主题和“肮脏的弱势分子”轰炸而流离失所，散文家们无法长期在安全和明确的边界内停留。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 11:51, 17 December 2020 (UTC)<br /> <br /> 它在低级政治和宗教原教旨主义之间摇摆不定。它未能构建一个保护文化差异，并不屈服于声称有独特途径了解真相的文化立场的民族多元化的前景。<br /> <br /> 在一个多语言的时代，一切都必须重新竞争和谈判，打破边界是规则而不是例外。在上一个千禧年结束前，中国散文在文化论战的热潮中蓬勃发展，但就美学和本体论规范而言，散文家们无法长期呆在安全和明确的界限内，因为他们常发现自己被一大堆难以捉摸的问题、古怪的主题和“无赖的业余爱好者。”驱逐出去--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:45, 17 December 2020 (UTC)Xu Pengfei<br /> <br /> ==Peng Yongliang 彭永亮==<br /> With battle lines frequently redrawn and growing ever so fuzzy, this round of cultural polemics took on the characteristics of a wild slugfest, no-holds-barred wrestling and elusive shadow boxing. But true to its essaying (or, alternatively, assaying) role, the essay form rose to the challenge with the right mix of mercurial, discordant and yet self-assured mettle. Thus, it proved most capable of lending expression to chaos, fracture and trivia of the postmodern world. One need not search far to bring this point home: the essay has lately swamped the public media with its newfangled offshoots: in addition to the common literary and political essays appeared the licai (personal financing) essay, the xiuxian (leisure/recreation) essay, the photo essay, the cyber essay and so forth. But it is with the cultural polemics of the 1990s that the readers witnessed the essay form in most amazing novelty, deftness and verve. <br /> ==Peng Yuzhi 彭育志==<br /> One way to make sense of what essay form enabled the writers to achieve amid the “wars of words” (pizhan) is to take it to task by way of its intrinsic bond with cultural dialogics, i.e. to see how approaches of writing essays lead to the laying of grounds for a dialogic relationship that intersects even the most incendiary issues and dissimilar views of this discursive maze. To that end, we will focus on Zhang Chengzhi’s essays published after mid-1990s to see why a radical intellectual figure like Zhang, considered an intractable loose cannon by most, often contests and mediates, by virtue of his border-violating politics, what the cultural mainstream considers to be polemical and divisive. At once belletristic and carnivalesque, Zhang Chengzhi’s essays stood out with striking clarity and urgency, if also with unnerving uproar. <br /> ==Qi Kai 漆凯==<br /> Extolled by some as the author whose one book single-handedly redeemed Chinese writing of the entire twentieth century, Zhang was riding high on the tailwind of his enormously popular Xinling shi (History of the Soul, 1992) and seemed to have returned to the public forum with his discursive buoyancy revived and his sense of the “sacred” mission renewed. At first glance, this does not seem the same Zhang Chengzhi who was overwhelmed by the spiritual loftiness he had ascended to upon completing ''Xinling shi'' and pleaded to his readers in all earnest, “there will no longer be this “me” from now on. Please banish me from your memory. … I have even taken myself by surprise that with this book I could bring myself to such a screeching halt.”[ Zhang Chengzhi, ''History of the Soul'' (Guangzhou: Huacheng chubanshe, 1991) 311.] But did Zhang ever quit the public forum and banish his voice from the on-going dialogue with his readers afterwards? <br /> ==Qu Miao 瞿淼==<br /> And did he accidentally join the ranks of those escapist intellectuals who self-righteously beat a retreat in the face of social repression and identity dislocation of the early 1990s? <br /> <br /> Indeed, at the height of his unexpected fame in 1992,[ Zhang Chengzhi made repeated statements in his essays written around this time that he had voluntarily terminated his career as a professional writer out of his desire to be embraced by the Muslim community and out of his disgust for what writers and intellectuals in general had failed to do in the face of rampant consumerist values.] Zhang did not hesitate to declare that his career as a professional writer had come to an end, and that he would retreat to the Muslim communities in the barren loess in Northwest China to begin his new life. While it is true that he verbally renounced his faith in and severed his tie with the mainstream intelligentsia, reality has proved otherwise: he could neither disinherit the dialogic potential of his earlier essays the same way as he allegedly cast off his ''Han'' Chinese upbringing, nor disown the intellectual milieu of his growth as though it were those business cards he symbolically tore up in disgust.[ This symbolic act is given an elaborate defense in one of his “position-statement” essays, “My Method of Tearing up those Business Cards,” published in Wuyuan de sixiang (Unassisted Thoughts) (Human wenyi chubanshe, 1999).] <br /> ==Quan Meixin 全美欣==<br /> Zhang cannot give up the act of writing through which he once defied the false sanctity of official histories and celebrated the purity and incorruptibility of the ''Jahriyya'' Muslims,[ A sect Chinese Muslims who are often considered the inheritor of mystical Sufis of the religion of Islam.] and to which he owed the stage for exhibiting his extraordinary discursive power as well as his reinvented ethnic identity. While still pursuing his spiritual pilgrimage as a lone warrior, he could hardly remain an intellectual recluse in an imagined sanctuary. Although his views often turned hard-edged due to his combative and self-aggrandizing tone, we need not necessarily be put off by his ill-advised posturing, which is far more rhetorical than substantive. Rather we are urged to see beyond his argumentative mode and detect that ineluctable draw of cultural dialogics that lured him to charge right back to the frontline of the discursive war zones. <br /> <br /> Zhang’s essays published since mid-1990s prove most intriguing and forceful when they give vent to his critical views that deliberately blur the boundary between personal commitment with public conscience.<br /> ==Sagara Seydou ==<br /> Seldom a believer of easy cultural synthesis, Zhang thrives in getting caught in the crossfire of public debates and wreaking havoc for the intellectual mainstream whose social legitimacy has fed off a complicitous liaison with the official and the ideological center. In a sense, what constituted the identity of his previous self, i.e., the “I” who nimbly narrated a hidden history of a suppressed people in ''History of the Soul'', was a persona already poised on the borders between public outcry and personal misgiving, between official histories and popular memoirs, between discourses of cultural criticism and identity politics. Akin to the self/other-conscious tone of Martin Buber’s ''I and Thou'', Zhang’s resort to “You” side by side with “I” as his discursive partner not only denotes the presence of a dialogic partner cued up by intersubjectivity, but interjects a critical awareness to set off the “unanimous intellectual escapism.”[ Here I am quoting the phrase from Dai Jinhua’s journal article “Hidden Narratives: The Politics of Mass Culture in the 1990s.” Her view is critically assessed by Chen Jianhua in his “Local and Global in Narrative Contestation: Liberalism and the New Left in Late-1990s China” carried in Journal of Asian Pacific Communication, vol. 9, Nos. 1 &amp; 2, 113-29. ]<br /> <br /> 很少有人相信简单的文化综合，他在公共辩论的交火中fire壮成长，并对知识分子主流人士造成严重破坏，他们的社会合法性已经与官员和意识形态中心进行了复杂的联络。从某种意义上说，构成他以前的自我的身份（即“我”）已经在公开抗议的边界上蓄势待发，该人在“灵魂历史”中灵活地讲述了一个被压迫者的隐藏历史。在官方历史和大众回忆录之间，在文化批评和认同政治的话语之间，还有个人的疑虑。类似于马丁•布伯（Martin Buber）的《我和你》 的自我/其他意识语气，张以“我”作为他的话语伴侣并肩地诉诸于“你”，不仅表示存在被主体间性暗示的对话性伴侣. ，但插入了引发“一致的知识逃避现实主义”的批判意识。[在这里，我引用戴金华的期刊文章“隐藏的叙事：1990年代的大众文化政治”这一短语。陈建华在《亚洲及太平洋通讯》第一卷中发表的“叙事竞赛中的本地和全球：自由主义和新左派在1990年代后期的中国”中对她的观点进行了严格的评估. 9号1和2，113-29. ]--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:20, 19 December 2020 (UTC)<br /> <br /> ==Shi Diwen 石迪文==<br /> Initially a survival tactic to avert political repression in post-1989 China, this latter movement gained popular currency in the early 1990s as some intellectuals and professionals who used to pursue political activism now withdrew into enclosed fields of specialist researches where they could claim professional excellence as their new moral high grounds and practice professional elitism as a testimony to their personal spiritual faith. These so-called “New Scholars” valorized scholarly research as “not just a matter of knowledge or profession, but more fundamentally, a form of life choice and value inquiry.”[ Chen Pingyuan, “Thoughts on Research of Scholarship History,” Xueren I, 2-6. ] Alongside this process of self-authorization, they also sported a sweeping disdain toward mass culture or other nonprofessional cultures. Was this a covert strategy of resisting moral degeneration, or a “club-spirit” rally of collective escapism in the guise of professional disinterest? <br /> <br /> ==Shi Haiyao 石海瑶==<br /> Zhang’s answer rebukes the latter. Long before the first public debate over such issues took place, his own self-authorization in writing ''History of the Soul'' brought the “impartial” search for historical truth under critical scrutiny. Positing his ethnic unconscious as the testing site, Zhang launched an assault on the falsely fixed standards in writing ''Hui'' histories whose authority had been complicitous with the chauvinistic State ideology. He berated the methodological status quo in Chinese Muslim scholars’ historiography for tailoring local and ethnic memories to cater to the legitimacy of its hegemonic control. In the same vein, he called into question the validity of collecting and editing historical documents according to empiricist standards, chastising its total submission to a positivist view of historical development in the name of scholarly objectivity.<br /> <br /> ==Si Yu 司妤==<br /> He specifically targeted the renowned Hui historian Yang Huaizhong whose investigation of ''munafeles'', ''Hui'' collaborators with ''Manchu'' and ''Han'' rulers, had, in Zhang’s view, internalized the reigning codes of power-knowledge alliance. Despite of his fine appraisal and extensive research, Zhang reproves Yang’s aloof stand:<br /> <br /> On the one hand, you try to reflect critically yourself and your tradition, on the other, you want to bring to light the suppression and violation committed against the human soul. How can the kind of subject you’re studying still be the same historiography? <br /> If Yang had yet to shake off the false sense of ethnic anonymity, Zhang does not make it any easier for himself when faced with the historical injustice inflicted upon the ''Huis''.<br /> <br /> ==Song Jianru 宋建茹==<br /> At the Jinji Bao, a historical site of many quelled ''Hui'' uprisings in 19th century, he could hardly help chiding himself for not “avenging the historical wrongs” as a professional historian. He confesses in a 1996 essay entitled “Odes to Waves”: <br /> <br /> It so happened that I have the fortune of being a full-fledged academic historian, yet I examined every single detail (of official records) critically but could not offer any rebuttal. It so happened that I was born of ''Hui'' parentage, yet I attempted to skirt around it but could not escape this historical site---the wintry mist shrouding Jinji Bao pounded me wave after wave, pressing me to make a pledge, to declare a ''nietie'', to make good the pledge of being dedicated to the people I took rather casually years ago. <br /> <br /> Yang Huizhong, also known as Yang Mohammed Usiar, is a well-known Hui historian who has done crucial research on 18th Century Jahriyya Muslim uprisings. Zhang’s critical comments appear in T''he Heroes’ Paths in Wilderness'' (Shanghai: Zhishi Publishing House, 1994) 125.（文献无需翻译）<br /> <br /> ==Su Lin 苏琳==<br /> This is not an occasional outburst of emotions for the sake of letting off his own guilt. This is sincere self-reproach to prod himself into keeping his ethnic memory and affective empathy from being worn thin by his years of academic studies, field work and research. Unlike the New Scholars’ chase of “disinterest” and neutrality, Zhang opts valiantly for the direction of racial and social activism: to knock down posts erected by “objective” histories, penetrate the walls of political and religious phobias and uncover the buried truths of ethnic repression and violence. One might query Zhang’s view of historical scholarship as emotive and skewed, thus running the risk of demeaning historiography into personal misgivings.<br /> <br /> ==Tan Xingyue 谭星越==<br /> But in the era of cultural pluralism and ethnic identities, it is precisely the affective and personal that keep our ethnic awareness alive and urge us not to take boundaries of power and knowledge for granted. <br /> <br /> No doubt, Zhang enters the debate of “the ultimate concern” of the mid-1990s, but he does so on his terms. He puts forward an ethnographical approach consisted of a person’s affective propensities (''qinggan''), ethnic lineage (''xuetong'') and a “prefigured destiny” (''qianding''). These are interlocked and reciprocal in variety of ways to enmesh a person in a nexus of cultural dialogics. He then probes the illusion of professionalism in the form of an “originary question” (''yuanchu zhiwen'').<br /> <br /> 但在文化多元化和民族认同的时代，恰恰是情感和个人因素使我们的民族意识得以保持，并敦促我们不要把权力和知识的界限视为理所当然。<br /> <br /> 毋庸置疑，张加入了90年代中期关于 &quot;终极关怀 &quot;的讨论，但他是以自己的方式进行的。他提出了一种由一个人的情感倾向、民族血统和乾定命运组成的民族学方法。这些因素相互联系和相互作用，以各种方式使人置身于文化对话的关系中。然后，他以 &quot;原初之问 &quot;的形式来探究专业主义的假象。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 03:56, 19 December 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> He asks: “How do you account for your being in the face of your own soul when there is nothing scientific or ideological to fend you from this ultimate accountability?” To him what accounts for his ultimate humanist concern is his ''Hui'' ethnicity. Ethnicity, according to Michael Fischer, “ … is something dynamic, often unsuccessfully repressed or avoided. It can be potent even when not consciously taught; … something that institutionalized teaching easily makes chauvinistic, sterile, and superficial.” It is thus the “id-like” sentient and psychological that lay the ground for one’s ethnic/cultural conditioning and in turn bring it to bear upon one’s historical awareness. <br /> <br /> A sinicized Islamic term for “taking a devotional vow.” It is also known as Juyi in Chinese.<br /> Zhang 1999a, 37.<br /> Zhang Chengzhi, The Heroes’ Paths in Wilderness (Shanghai: Zhishi Publishing House, 1994) 125. <br /> Michael Fischer, ‘Ethnicity and the post-modern arts of memory,” in James Clifford and George Marcus, eds., Writing Culture: The Poetics and Politics of Ethnography (Berkeley: University of California Press, 1986) 195. （文献无需翻译）<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> Being ethnically predisposed as an “other” likewise makes Zhang acutely watchful of the State’s covert practice of ethnocentrism in the name of social progress and scientific rationality. Drawing on his renewed ethnic ethos, Zhang has no qualms in issuing a call to all historians: “… disinherit the whole positivist baggage of the conventional historiography, and seek out the complex intuitive faculty of your individual soul.” <br /> <br /> What about his image of a lone moral crusader? A great deal of ruckus has been raised over Zhang’s arguably obsessive stress on the “purity” and “truthfulness” of the ''Jahriyya'' Muslims; he is disparaged by some critics as “the most self-pleased” man in China today,” due precisely to his tireless and unsuspecting adoration of the close-knit and reclusive ''Jahriyya'' community.<br /> <br /> 作为一个 &quot;他者 &quot;的民族倾向，同样也使张先生对国家以社会进步和科学理性的名义，隐蔽地实行民族中心主义的做法产生了敏锐的警惕。 借着重新焕发的民族气质，张先生毫无顾忌地向所有历史学家发出号召。&quot;... 摒弃传统史学的全部实证主义包袱&quot; &quot;寻找你个人灵魂的复杂直觉能力&quot; 。<br /> <br /> 他的一个孤独的道德十字军形象呢？ 张先生对''贾里雅''穆斯林的 &quot;纯洁性 &quot;和 &quot;真实性 &quot;可以说是执着地强调，引起了很大的骚动；他被一些评论家贬为当今中国 &quot;最自得其乐 &quot;的人，&quot;这正是由于他孜孜不倦地、不怀好意地崇拜着封闭而隐居的''贾里雅''群体。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:38, 16 December 2020 (UTC)<br /> <br /> 作为一个“他者”的民族倾向，同样也使张先生对国家以社会进步和科学理性的名义，隐蔽地实行民族中心主义的做法产生了敏锐的警惕。借着重新焕发的民族气质，张先生毫无顾忌地向所有历史学家发出号召。“……摒弃传统史学的全部实证主义包袱”，“寻找你个人灵魂的直觉能力。”<br /> <br /> 那么关于他的一个孤独的十字军形象呢？张先生对贾里雅穆斯林的“纯洁性”和“真实性”可以说是不断地进行强调，引起了很大的骚动；他被一些评论家贬为当今中国“最自得其乐 的人，”而这正是由于他孜孜不倦地、毫无戒心地崇拜着紧密而又隐居的贾里雅群体。”--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:08, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ==Tang Bei 汤蓓==<br /> Does this not make him one of those solitary seekers of moral perfection in a morally promiscuous age? Zhang’s admonishing axioms seem to answer in a seamless fit to Wang Xiaoming’s definition of a self-oriented search for ethical righteousness. As an alternative to the intellectuals’ direct involvement in politics of the 1980s, Wang emphasized the personal quality of ultimate concern and argued: “(1) you can only search for the ultimate value from your personal experience; (2) what you find is your own interpretation of what the ultimate value is, not the ultimate value itself.” Zhang seems to share the solitary seekers’ new sense of priorities in favoring a self-motivated quest for absent moral virtues, albeit transcendental and visionary. <br /> <br /> ==Tang Ming 唐铭==<br /> But one facet of his writings forcefully rejects that equation: he has all along kept up public-minded criticism of social ills and moral depravities as a free-lance social/cultural critic. What the seekers of personal integrity and sublimation failed to hang onto Zhang has carried on with infinitely sharper insight and fiercer zeal.<br /> <br /> Zhang detects and detests the anxiety of these individuals to rise above the laity of social meanings and responsibilities as a way to avoid being an accomplice to ideological repression. And indeed his most scathing exposé has so far been reserved for the mainstream intellectuals rather than the money-grabbing ''New Riches'' or the consumerist mass. <br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> When readers’ feedback to his ''History of the Soul'' heated up into a media squabble in 1994, Zhang burst onto the scene again with another of his tirades “Poets, why aren’t you indignant?” The essay is brimmed with scorn for the public for its total surrender to consumerism and their frantic drive for worldly pleasures; yet it is the intellectual mainstay who bear the brunt of his verbal onslaught. Zhang accused them of “selling out to monetary gains and worldly repute,” the news media of “swarming up like bees after the ‘big shots’ for petty favors and leftovers, and the cultural critics of “becoming painfully silent on any honest, principled, to-the-point criticism.” <br /> <br /> Zhang 1994a, 125.<br /> Zhang Yuanshan, “Zhang Chengzhi---the Most Self-Pleased Writer” at Xin yu si dianzi wenku (www.xys.org), listed under Zhang Yuanshan.<br /> Zhang Rulun et al, “The Humanist Spirit: whether and How Is It Possible?---Reflections on the Humanist Spirit, I” in Dushu 3: 3-13.<br /> For a fine critique of this shift of intellectual paradigm, see also Xu Ben. Disenchanted Democracy: Chinese Cultural Criticism after 1989 (Ann Arbor: The University of Michigan Press, 1999) 49-56. （文献无需翻译）<br /> <br /> ==Tao Ye 陶冶==<br /> For a time, Zhang’s readers felt jabbed by his barbed comments on the gaping “void” of spiritual faith and rampant cynicism, philistinism and moral incompetence among the intellectuals. They were also exacerbated by his unmatched tribute to the ''Jahriyya'' Muslims who remained unperturbed by the hustle and bustle of economic boom elsewhere in China. All this led the public to conclude that Zhang’s posturing was cashing in on the polarization of the Haves and the Have-nots of China’s new social strata, and that with his accolades for “the poor men’s religion” he intended to push for the image of a “Me-alone Spirituality.”<br /> <br /> ==Wang Meiling 王美玲==<br /> This grave misperception turned out to be the main ground for his detractors like Wang Shuo to lodge a protest, accusing him of getting rich with loyalties for his publications in Japan and overseas while turning hypocritically around to lecture the intellectuals at home in their weakness for cynicism, corruption and bankruptcy. <br /> <br /> Nothing could be further from the truth: although feeling at home with the rigid and barren habitat of the poverty-stricken Muslims, Zhang is not necessarily biased against material comforts or social development as some critics have labeled him to be.<br /> <br /> 这种严重的误解竟然成为王朔等人诋毁他而提出抗议的主要理由，指责他依靠日本和海外出版的刊物事业一心一意地发大财，却还虚伪地反过来教训国内知识分子玩世不恭、腐败潦倒。 <br /> <br /> 这一切都离不开此等事实：即张先生虽然对贫困穆斯林僵化贫瘠的生活环境感到十分亲切，但他并不一定像某些批评家所标榜的那样，会对物质享受和社会发展持有偏见态度。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 14:46, 16 December 2020 (UTC)<br /> <br /> This grave misperception turned out to be the main ground for his detractors like Wang Shuo to lodge a protest, accusing him of getting rich with loyalties for his publications in Japan and overseas while turning hypocritically around to lecture the intellectuals at home in their weakness for cynicism, corruption and bankruptcy. <br /> <br /> <br /> 这种严重的错误认识，成了像王朔这样的诋毁者提出抗议的主要理由，他们指责他依靠在日本和海外的出版物一心只想着致富，同时又虚伪地反过来告诫国内知识分子，说他们玩世不恭、腐败潦倒。<br /> <br /> Nothing could be further from the truth: although feeling at home with the rigid and barren habitat of the poverty-stricken Muslims, Zhang is not necessarily biased against material comforts or social development as some critics have labeled him to be.<br /> <br /> 事实并非如此：尽管张先生对贫困穆斯林的僵硬贫瘠的生活环境感到熟悉亲切，但他并不一定像一些批评家所说的那样，对物质享受或社会发展抱有偏见。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 16:09, 16 December 2020 (UTC)Xiao Yining<br /> <br /> ==Wang Xuan 王轩==<br /> Rather, he is adamant with the intellectuals’ frailties in the face of social malfunction and injustice as a result of harried economic policies, and he is outspoken about what little critical awareness the educated class can foster against the blindly raging “market forces” and the new alliances of wealth and power. In 1999, Zhang wrote a sequel “Again to the Honorable Teacher” to his 1991 tribute to Lu Xun, in which he firmly declares that he will not back down from his previous judgment on Lu Xun’s misfortune---why Lu Xun chose not to leave us a legacy of great volumes of scholarly or professional worth.<br /> <br /> Zhang Chengzhi and Zhang Wei initiated a heated round of ''bizhan'' (pen-combats) in the Literary Supplement of ''Wenhui'' Bao (Wenhui Daily, Shanghai) over the issue of mass consumption and culture with many writers who are more sympathetic with the marketized economy and consumerist culture. This essay by Zhang---“Poets, Why aren’t you indignant?” is featured as the leading editorial on August 7, 1994. <br /> Zhang Chengzhi, “Poets, Why aren’t you indignant?” in ''Wenhui'' Bao (Shanghai) (August 7, 1994).<br /> For further detail of this dispute, read Geremie Barmé, ''In the Red: On Contemporary Chinese Culture'' (New York: Columbia University Press, 1999) 304-309. （文献无需翻译）<br /> <br /> 相反，他坚持知识分子在面对经济政策所导致的社会失灵和不公正时的脆弱性，并直言不讳地说，受过教育的阶层在对抗盲目肆虐的“市场力量”和新的财富和权力联盟方面，能够培养出什么样的批判意识。1999年，张艺谋为纪念1991年的鲁迅写了一部续集《再次献给这位可敬的老师》，在这本书里，他坚定地宣称，他不会放弃先前对鲁迅不幸的判断——为什么鲁迅选择不给我们留下大量学术或专业价值的遗产。张承志、张炜在《文汇报》文艺副刊（上海文汇报）上，与许多对市场化经济和消费主义文化比较同情的作家，就大众消费与文化问题展开了一轮激烈的笔战。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:32, 18 December 2020 (UTC)Wang Xuan<br /> <br /> 相反，他坚持知识分子在面对经济政策所导致的社会失灵和不公正时的脆弱性，并直言不讳地说，受过教育的阶层在对抗盲目肆虐的“市场力量”和新的财富和权力联盟方面，能够培养出什么样的批判意识。1999年，张艺谋为纪念1991年的鲁迅写了一部续集《再次献给这位可敬的老师》，在这本书里，他坚定地宣称，他不会放弃先前对鲁迅不幸的判断——为什么鲁迅选择不给我们留下大量学术或专业价值的遗产。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:23, 17 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Wang Yu 王煜==<br /> In fact, Zhang now argues, in less sarcastic yet firmer terms, why Lu Xun’s solitary yet relentless social and cultural crusades are gaining rather losing currency in 1990s’ China. He writes:<br /> <br /> The populace in this nation have little power or scarce hope. But they are quick to discover: when they suffer and despair under the heavy burden of tyrannical rule of the bureaucratic few, “the intellectual class” turn out to be, after politicians and money, another cruel oppressor. The broad masses want nothing more than being fed and clothed. But they need the intellectuals to keep up the basic and constant criticism of the social elite and the powerful. Otherwise, their plight would be unthinkable.<br /> <br /> 事实上，张现在用一种不那么讽刺但更坚定的措辞来论证:为什么鲁迅独行而无情的社会文化改革在90年代的中国越来越流行。他写道：<br /> <br /> 这个国家的人民没有什么力量，也没有什么希望。但他们很快就会发现：当他们在少数官僚专制统治的沉重负担下痛苦绝望时，“知识阶层”就成了继政客和金钱之后的又一个残酷的压迫者。广大群众只想吃穿。但他们需要知识分子不断地对社会精英和权贵进行基本的、持续的批评。否则，他们的困境将是无法想象的。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 04:52, 19 December 2020 (UTC)<br /> <br /> 事实上，张炜现在用不那么讽刺但坚定的措辞来论证为什么鲁迅这种孤僻但无情的社会文化变革在90年代的中国长久不衰。他写道：<br /> <br /> 这个国家的人民是积弱且缺乏希望的。然而他们很快就会发现：当他们在少数官僚专制统治的沉重负担下痛苦和绝望时，“知识阶层”便成了金钱和政客之后的又一残酷压迫者。广大百姓想要的只不过是吃得饱，穿的暖。但他们需要知识分子对社会精英和权贵保持基本、持续的批判。否则，他们的困境时无法想象的。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:39, 19 December 2020 (UTC)<br /> <br /> ==Wang Yuan 王源==<br /> We, as readers of Lu Xun’s ''zawen'', are surely struck by the familiar wording, the similar tone, and the unyielding views that have implausibly found their way back into Zhang’s essays over half a century later. We are also surprised at how candid and unaffected he is when making such social commentary from a position comparable to the Great Lu Xun. <br /> <br /> One is tempted to ask: is Zhang grandstanding? I think not. However, the causes for leaping to charges against his feisty offensive are worth looking into: they are, ironically, spawned off the same binary frame of mind that has been consistently used by the CCP ideologues to denounce the inroads made by “liberal bourgeois values;” yet such a frame of mind is also replicated by many of Zhang’s critics at home and overseas.<br /> <br /> 作为鲁迅的读者，我们当然会被超过五十年后在张先生文章里发现那难以置信地熟悉的遣词、语气和坚定不移的想法而打动。我们也会惊讶，当把他放在同一位置和伟大的鲁迅进行比较，做出社会评论时，他是多么的坦率和不受影响。<br /> <br /> 有人也许想问：张炜是在哗众取宠吗？我认为不是。然而，对于他来势汹汹的攻势的原因却值得探讨：讽刺的是，这些原因是由中共意识形态形态者用来谴责“自由主义资产阶级价值观”入侵的二元思维框架产生的。但是这种思维框架也被海内外许多张炜的批评者们所复制。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:19, 19 December 2020 (UTC)<br /> <br /> ==Wei Honglang 韦洪朗==<br /> Odd bedfellows resting on the same cultural logic, they argue that criticism of the intellectuals’ dislocation and impotence in current China is motivated by the either/or option. One is either directed by a regressive Party-led agenda to exert the authority of socialist ideological legacy while intimating their message amidst the consumerist ambience. Or he/she is motivated by a dissenting political force to jump-start a new round of political subversion while laying itself open to patronage of the West (mainly America)-centered global order. Zhang’s detractors from both these stances see eye-to-eye on his role in today’s cultural politics, following the either/or mode of straightjacket thinking.<br /> <br /> ==Wei Yafei 魏亚菲==<br /> But I believe he is neither a firebrand of old egalitarian idealism nor an extremist with religious fundamentalist zeal. His self-styled apologist persona is neither a haughty custodian of monolithic values, nor a self-righteous model of narcissistic purity and perfection, nor a slick po-mo master showcasing newly imported goods. His is more of a lone outlaw in a “mobile warfare” in the Gramchian sense: preying on the unjust and corrupt elite, yet forever keeping the society at large at bay. <br /> <br /> Take the case of Zhang’s attitude towards “the people.” Pervasive social and cultural changes triggered by State-endorsed market economy had been set in place in China by mid-1990s which had led to seismic dislocation and reordering across the entire social spectrum.<br /> <br /> ==Wen Sixing 文偲荇==<br /> The result is that familiar notions such as “the people” had been stripped of their usual ideological moorings, whereas the newly emerged social grouping was yet to be reckoned with. While the recent cultural warfare has struck a bitter discord between the Liberals and the New Leftists over the definition of the masses (''dazhong''), Zhang has been relentlessly lucid and unambiguous who they are---those of the disadvantaged and the impoverished in China today. He is evidently critical of the Liberals who are eager for China to partake of a global economic order and evolve into a liberal society with a rising middle class as the nucleus of its civic values, but tend to lose sight of how this class of well-off Chinese (most notably the New Riches) can emerge without tipping economic and social imbalances towards those at the lower rungs of the social ladder.<br /> <br /> 其结果是，人们熟悉的概念，如“人民”，已被剥夺了他们通常的意识形态根基，而新出现的社会群体还有待考虑。虽然最近的文化战争在自由主义者和新左派对“大众”的定义上产生了激烈的分歧，但张却毫不含糊地明确了他们是谁——当今中国的弱势群体和贫困群体。他显然是重要的自由主义者,他们迫切希望中国参与全球经济秩序和发展成一个自由与崛起的中产阶级社会作为其公民价值观的核心,但往往忽视这类富裕的中国人(尤其是新兴富人群体)的出现，而不引爆经济和社会失衡以及影响刚刚起步的社会主义事业。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 13:50, 16 December 2020 (UTC)<br /> <br /> 其结果是，&quot;人民 &quot;等熟悉的概念已被剥去了惯常的意识形态寄托，而新出现的社会群体却还没有被重视起来。 当最近的文化战在自由派和新左派之间就大众（''大中''）的定义发生激烈的争执时，张先生却毫不留情地明确了他们是谁--当今中国的弱势群体和贫困者。 他显然对自由派提出了批评，他们渴望中国参与全球经济秩序，并发展成为一个以中产阶级为公民价值核心的自由社会，但却往往忽视了这个富裕的中国阶层（最主要的是新富阶层）如何能够在不使经济和社会失衡向社会底层倾斜的情况下出现。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:39, 16 December 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> For that matter, he is also adamant with the Po-Mo culturalists whose extreme ''kowtowing'' to the market culture and its mass consumers is, by way of an odd twist, turned into propelling forces for the predominantly ''Han'' Chinese to regain a very ethnocentric mode of self-empowering in a renewed East-West confrontation.<br /> <br /> Although Zhang’s view on “the people” is in close proximity to those of the New Leftists, he does not convey them as if they were their carbon copies. Instead he distills the critical efficacy of their combat with the deceptive “mass culture” and implants it in his border-violating strategy as a mobile yet vital critiquing position.<br /> <br /> ==Wu Kai 吴恺==<br /> Contrary to what he sometimes claims---to jettison the culpable intellectuals in the name of “religious” purity, Zhang has always felt the urge to recharge the power of the intellectual self as expository but not dispossessing, diagnostic but not agnostic, and independent but not self-insulating. The key to his border-crossing self is a dialogic interplay among multiple viable postures of the self while never allowing the self to be tied to a single rigid form of it. It is by negotiating between these individual stances of conviction that Zhang aims to create a vigilant and constructive ambience to see to the redress of social injustice. While revisiting Lu Xun in “Again to the Honorable Teacher,” he avidly called on Chinese intellectuals to embark on a solitary but enduring quest for the interests of the people at the lower rungs of the society.<br /> <br /> For further readings on this dispute, read Li Shitao, ed. Zhishi fengzi lichang: ziyou zhiyi zhizheng yu zhongguo xixiangjie de fenghua (The Position of Chinese Intellectuals: The divided intellectual circle over the issue of Liberalism) (Changchun: Shidai wenyi chubanshe, 2000).（文献无需翻译）<br /> <br /> 与他有时声称的那样——以“宗教”纯洁的名义抛弃应受谴责的知识分子，张先生总有一种冲动，那就是，要把知识分子自我的力量重新注入，做到说教而不是剥夺，诊断而不是不可知论，独立但不自我隔离。他跨越边界的自我的关键是在自我的多种可行姿势之间的对话互动，而不允许自我被束缚在单一的僵硬形式上。正是通过这些个人信念立场之间的协商，张先生旨在创造一种警惕和建设性的氛围，以期纠正社会不公。他在《重温恩师》一书中重温鲁迅时，热切地呼吁中国的知识分子开始一种孤独而持久的追求社会下层人民的利益的道路。<br /> <br /> 关于这一争议的进一步解读，请阅读李世涛主编《知识分子立场:自由主义之争与中国思想界的分化》（中国知识分子的立场：自由主义问题上的分裂的知识界）(Changchun: Shidai wenyi chubanshe, 2000)。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:47, 18 December 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> To engage in a dialogue with these masses, he observes, is for the intellectuals “to forever keep a watchful custody of such people against the socially established and the powerful.” And the masses will discover Zhang’s polemical writings, much as they did Lu Xun’s Zawen in 1930s, “there is always someone like Lu Xun who is cussing his heart, all alone in his crusade.” <br /> <br /> '''Discussion of this chapter: The ''xiaopin wen'' between ''xianshi sanwen'' and ''zawen'''''<br /> <br /> ''King-Fai Tam''<br /> <br /> I would first of all like to commend the contributors of this chapter for their original, well researched and well articulated papers which represent a diversity of angles of approaching the study of essays, while sharing an interest in the polemical nature of the genre. <br /> <br /> Zhang Chengzhi, “Zaizhi xiansheng” in Wuyuan de sixiang (Unassisted Thoughts) (Changsha: Hunan chubanshe, 1999) 100-105.（文献无需翻译）<br /> <br /> 他发现，与这些民众的对话是为了让知识分子”对反社会和反权利人群永远保持警惕”。而且这些民众会发现张的议论文，就像他们在1930年代对鲁迅《杂文》所做的一样，“总有人像鲁迅一样，独自一人在呕心沥血地讨伐。”<br /> <br /> '''本章讨论：实现散文和杂文中的小品文'''<br /> <br /> ''谭景辉''<br /> <br /> 首先，我想向为本章提供原始资料作出贡献的人表示感谢，经深度探索且表达清楚的论文可以在分享对散文体裁辩论本质的兴趣时，从多个角度来呈现散文研究现状。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 02:28, 18 December 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> Together, they constitute an eye-opener for me, given my interest in ''xiaopin'' wen and other similar works with a lyrical bent that shy away from discursiveness and argumentation. If the ''xiaopin'' wen writers have anything to say about politics and society, it is often with a bemused tone; and the most that one can expect from them is a lamentation of some unjust social phenomenon, accompanied perhaps by an expression of outrage and an ineffectual cry for change. In that sense, ''xiaopin'' wen can be said to have rejected one the basic tenets of the essay as a process of experimentation, questioning, reflection, and, indeed, essaying. Too often, it gestures superficially to the analysis of an issue, only to come down heavily on an emotional response at the end.<br /> <br /> 鉴于我对 &quot;小品 &quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &quot;小品 &quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，''xiaopin''wen可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 13:21, 16 December 2020 (UTC)<br /> <br /> 这些作品加在一起，让我大开眼界，让我对 &quot;小品 &quot;文和其他类似的抒情作品产生了兴趣，。 如果说 &quot;小品 &quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，“小品”文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 13:47, 16 December 2020 (UTC)<br /> <br /> 鉴于我对 &quot;小品 &quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &quot;小品 &quot;文对政治和社会有什么要说的，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，小品文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 13:53, 16 December 2020 (UTC)<br /> <br /> 鉴于我对 &quot;小品 &quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &quot;小品 &quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，''小品''文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 14:53, 16 December 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> Yet, the four contributions to this chapter point out that there is a bigger world in the study of essays beyond ''xiaopin'' wen. The essay can, as Mary Scoggin argues, be cantankerous, recalling the image of a spear and a dagger, where one piece of ''zawen'' is more likely to elicit an equally cantankerous response than to put an issue to rest. With good reasons, we describe such exchanges as ''pizhan'' (battling with the pen). The essay is also a site where the essayist can consciously sculpt an image of himself, as Lu Jie and Liu Xinmin show in the cases of Zhang Wei and Zhang Chengzhi.<br /> <br /> 然而，本章所作的四个贡献指出，在小品文之外散文研究还有一个更广阔的世界。正如玛丽·斯科金所说，这篇文章可能给人不好的感觉，回忆时像一把长矛和匕首，其中一段“扎文”更可能引起同样不愉快的反应，而不是让问题得到解决。我们有充分的理由称这种交流为“笔战”。（用笔作战）正如陆洁和刘新民在张炜和张承志的案例中所展示的那样，这篇文章也是散文家有意识地塑造自己形象的成果。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:22, 18 December 2020 (UTC)<br /> <br /> 然而，本章所作的四个贡献指出，在小品文之外散文研究还拥有一个更广阔的世界。正如玛丽·斯科金所说，散文也可以尖锐凌厉，让人联想到长矛和匕首的形象，其中“扎文”更可能引起尖锐的反应，而不是使问题得到解决。我们有充分的理由将这种交锋称为“笔战”。正如陆洁和刘新民在张炜和张承志的案例中所展示的那样，散文家也是会有意识地将散文作为塑造自己形象的场所。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 04:17, 19 December 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> Moreover, while one single piece of essay is indeed different from a treatise in that its brevity makes it ill-equipped to address an issue in great depth, essayists such as Zhang Wei and Zhang Chengzhi can resort to voluminous output, exhaustively exploring different shades of a question in one essay after another to build up a coherent position. Wang Ban furthermore approaches the essay as a sensibility, or a structuring device, with which a writer tells and retells a story, puts forward a proposition and modifies or denies it. As such, it replaces the novel as the form that best captures the consumerist ethos of urban China in the 1990s.<br /> <br /> ==Wu Zijia 吴子佳==<br /> Yet, if a literary genre can take up so many shapes and forms, are we still justified to consider these shapes and forms as a uniform entity, to be analyzed and studies with the same methodology ? In my study of the essay, I have often been confronted with this question. In the New England Association of Asian Studies conference in October last year I raised a similar query in response to the presentations of Alexandra Wagner, Martin Woesler and Xinmin Liu: in what way can we consider works as diverse as those of Feng Zhi, Qu Qiubai, and a group of other writers that we discussed that day as essays? Now, in light of the four papers of this chapter, I would like to ask the same question again. <br /> <br /> ==Xiao Shuangling 肖双玲==<br /> I will take the clue from Wang Ban when he considers the “polemic pole” for the essay, i.e., that which the essay stands against, and see whether we can understand what essay is but finding out what it is not. At different historical junctures and in different cultural contexts, the essay has served as the voice of the opposition and the marginal. Wang Ban has already alluded to Adorno’s “The Essay as Form” to underscore the institutional system of philosophy, the discourse of scientific positivism, and its attendant socio-cultural conditions of reification, to which the essay stands in opposition. Likewise, one can find a late twentieth-century parallel where the articulation of feminism and decolonization often takes the form of the essay.<br /> <br /> 我将从王班思考文章的“论战极点”，即文章所反对的东西，来寻找线索，看看我们能否理解文章是什么，但找出它不是什么。在不同的历史节点和文化语境中，散文充当了反对派和边缘者的声音。王班已经提到阿多诺的“文章形式”来强调哲学的制度体系、科学实证主义的话语以及与其相伴随的物化的社会文化条件，而阿多诺的“文章形式”是与之对立的。同样，我们可以找到二十世纪后期的一个平行，女权主义和非殖民化的表述经常以文章的形式出现。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:19, 17 December 2020 (UTC)Xiao Shuangling<br /> <br /> 我将从王班提出的文章的“论战极点”，即文章所反对的东西入手，看我们能否理解文章而不是发现它的局限。在不同的历史节点和文化语境中，散文充当了反对派和边缘者的声音。王班已经提到阿多诺的“文章形式”来强调哲学的制度体系、科学实证主义的话语以及与其相伴随的物化的社会文化条件，而阿多诺的“文章形式”是与之对立的。同样，我们可以找到二十世纪后期的一个平行，女权主义和非殖民化的表述经常以文章的形式出现。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:59, 17 December 2020 (UTC)Xiao Ting<br /> <br /> [http://www.example.com link title]<br /> <br /> ==Xiao Ting 肖婷==<br /> Yet, in the Chinese context, even if we narrow it down to the last two decades of the twentieth century, it is not entirely clear what the polemic pole of the essay is. Wang Ban believes that the polemical pole to contemporary Chinese essays to be identified as the Enlightenment and Marxist paradigm of teleological history and its literary counterpart: the novel of “revolutionary realism.” For the zawen she is examining, Mary Scoggin suggests that ''zawen'' spits in the face of a “discourse of beauty” that serves to mute criticism in ''the'' name of social and rhetorical graciousness, an attitude that essentially forbids ''zawen'' writers to say anything if they cannot think of something nice to say.<br /> <br /> 然而，在中国的环境之下，即使我们把范围缩小到20世纪最后20年，也不能完全弄清楚散文的极点是什么。王班认为，当代中国散文的论极要确定为启蒙运动和马克思主义的心学史范式及其文学的对应物：&quot;革命现实主义 &quot;的小说。玛丽-斯科金在研究杂文以后认为，杂文对所谓“美的篇章”十分唾弃，以直白、朴实的语言来噎住批评，而这种态度实质上是禁止“杂文”作家在想不出好话时再说什么。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:49, 17 December 2020 (UTC)Xiao Ting<br /> <br /> 然而，在中国，即使把范围缩小到20世纪最后20年，也不能彻底弄清散文的论极是什么。王班认为，当代中国散文的论极应该定义成启蒙运动和马克思主义的心学史范式及其文学对等物：&quot;革命现实主义 &quot;的小说。玛丽-斯科金在研究杂文以后认为，杂文对<br /> 唾弃“美的篇章”，通过直白、朴实的语言来噎住批评，而这种态度实质上是防止“杂文”作家在想不出好话时再说些什么别的。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 12:23, 18 December 2020 (UTC)<br /> <br /> ==Xiao Xi 肖茜==<br /> Zhang Chengzhi, Xinmin’s subject, has made it abundantly clear that his essays are manifestations of a historical method that deconstructs Han chauvinism even as he has little by way of counter evidence to go by. Like Wang Ban, Lu Jie also pits the essay against the novel, but for a different reason, and with findings intriguingly different from that of Wang Ban. Wang Ban attributes the “metafictional” signs in Wang Anyi’s ''Shushu di gushi'' to the intrusion of the essayist sensibilities. In other words, it is her essayist touch that accounts for the tentativeness of her narrative. On the other hand, Lu Jie succeeds in showing that Zhang Wei the novelist is much more tentative and equivocal than Zhang Wei the essayist.<br /> 《新民》的主体，张承志已经非常清楚地表明，他的散文是解构大汉族主义的历史方法的表现，尽管他几乎没有任何相反的证据可供参考。和王班一样，卢杰也把这篇文章与《红楼梦》对立起来，但原因不同，他的发现与王班的截然不同。王班把王安忆《叔叔的故事》中的“元化”符号归结为散文家情感的侵入。换句话说，正是她的散文家风格造成了她的叙述的不确定性。另一方面，卢杰成功地展示了小说家张伟比散文家张伟更加犹豫不决和模棱两可。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 13:49, 16 December 2020 (UTC)Xiao Xi<br /> <br /> 张承志是《新民》的主人公，他非常直白地表明，他的散文是解构大汉族主义的历史方法的表现，尽管他几乎没有任何相反的证据可供参考。如同王班，陆杰也把这篇文章与《红楼梦》对立起来，但原因不同，并且他的发现与王班的完全不同。王班把王安忆《叔叔的故事》中的“元化”符号归结为散文家情感的侵入。换句话说，正是她的散文家风格导致她的叙述带有不确定性。另一方面，陆杰成功地展示了一个事实——小说家张伟，比散文家张伟，更加犹豫不决，更加模棱两可。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:30, 17 December 2020 (UTC)<br /> <br /> ==Xiao Yining 肖伊宁==<br /> Even if one were to maintain that ''Jiuyue yuyan'', like ''Shushu di gushi'', is informed by the essayist sensibilities, one still has to consider why Zhang Wei’s essays are more categorical, and hence more simplistic and reductionist, in their assertion than the novel, whose meaning requires considerable teasing out. What is one to make of this discrepancy between Wang Anyi and Zhang Wei? What does it say about the two writers? And what do they have to say, if anything, about the essay and the novel?<br /> <br /> 即使有人坚持认为《九月寓言》和《叔叔的故事》一样，都是受散文家的情感影响的，但我们还是要思考为什么张炜的散文在论断上比小说更直截了当，也因此更为简单明了，而他的小说的意义却需要相当多的梳理推敲。怎么去理解王安忆和张炜之间的这种差异呢？对于这两位作家有什么看法呢？他们对这篇文章和小说有什么要说的吗？<br /> <br /> 即使有人坚持认为《九月寓言》和《叔叔的故事》一样，都受散文家的情感影响，但我们还是要思考为什么张炜的散文的论断比小说更直截了当，也因此更为简单明了，而他的小说的意义却需要相当多的梳理推敲。怎么去理解王安忆和张炜之间的这种差异呢？对于这两位作家有什么看法呢？他们对这篇文章和小说有什么要说的吗？<br /> <br /> In various ways, our contributors also look into the self-image the essayists construct for themselves as they participate in the cultural polemics at the end of the century.<br /> <br /> 在本世纪末的文化论战中，我们的撰稿人也从不同的角度审视了散文家为自己建构的自我形象。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:56, 16 December 2020 (UTC)Xiao Yining<br /> <br /> 在20世纪末的文化论战中，我们的撰稿人也从用不同的方法审视了散文家为自己建构的自我形象。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:29, 18 December 2020 (UTC)<br /> <br /> ==Xie Fan 解帆==<br /> Gone, apparently, is the supercilious pose of the ''xianshi'' essayist who, to paraphrase Lu Xun’s famous translation of Kuriyagawa Hakuson, “sits in a rocking chair by the stove in winter or puts on a bathrobe in summer to drink tea and chat casually with one’s good friends about things that do not give one a headache.” Rather, as our contributors succeed in pointing out, headache is precisely what our essayists aim to provide. Even though they also affect varying degrees of reclusivity or compromise, they always come back later to the polemic fray with renewed vigor. I have in mind such instances as Zhang Wei’s repeated claim to find a monastery in the mountains where he will study all by himself for a year even as he goes around giving advice to his readers on how best to resist the corrupting influences of mass culture.<br /> <br /> 这显然是散文家高傲的姿势,套用鲁迅翻译Kuriyagawa Hakuson的一句话,“冬天坐在火炉旁的摇椅上或夏天穿上浴袍跟好朋友喝茶聊天不会让人头疼。相反，正如我们的撰稿人所说，散文集作者想让我们头疼。”即使他们有不同程度的隐逸或妥协，但他们总是在之后的论战中重新焕发活力。我记得这样的例子，张维反复声称要在山里找到一个寺院，在那里独自学习一年，甚至到处给读者建议如何最好地抵制大众文化的腐蚀影响。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> 显然，“闲适”散文家那种傲慢的姿态已经消失了，套用鲁迅对厨川白村的著名翻译，&quot;冬天坐在炉子边的摇椅上，或者夏天穿上浴袍，和好朋友喝茶闲聊，谈的都是一些不使人头痛的事情&quot;。相反，正如我们的撰稿人所说，头痛正是要由我们的散文家提供。即使他们也会不同程度地影响到隐忍或妥协，但他们后来总是以新的活力重新回到论战中来。我想到的就是这样的例子，比如张炜反复声称要在山里找一个寺院，在那里独自学习一年，甚至到处给读者建议如何最好地抵制大众文化的腐化影响。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 13:37, 18 December 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> Similarly, the ''zawen'' writer distance themselves from the overtly declamatory tone with the sole purpose of making their gripes more readily stomachable, and their voices more readily heard. Zhang Chengzhi’s temporary withdrawal into religious isolation is another example, for, after a brief period of reclusivity, he enters once again the public sphere with deeper conviction and a broader agenda. In light of Wang Ban’s discussion, Wang Anyi’s case is perhaps less clear-cut than the rest. To be sure, she seems to have adapted rather well to the new consumerist society that commodifies literature; yet, it is clear that there is a serious intent in her deployment of the essayist sensibilities. <br /> <br /> ==Xu Jia 徐佳==<br /> In fact, to the extent that ''Shushu di gushi'' has challenged the master-narrative with which the life’s progress of a rehabilitated rightist is often told, I would argue that the essayist sensibilities, far from being irrelevant to history, can be put to historical use. The works of Zhang Wei, Zhang Chengzhi and Shao Yanxiang can perhaps supply us with a footnote to the historical relevance of the essay.<br /> <br /> '''The 20th Century Chinese Essay - Characteristics, Actors, and Trends'''<br /> <br /> ''Martin Woesler''<br /> <br /> '''Abstract'''<br /> <br /> In the first part of my paper, which deals with the characteristics of the essay, I will start with a definition of the essay as a non-fictional subjective representation in a free form: “Essay”, in Chinese mostly ''sanwen'' 散文, is a genre term for shorter, self-contained nonfictional prose texts, in which the author tries to mediate individual experiences on an object or a question using a subjective I-perspective.<br /> <br /> 其实，在某种程度上，《叔叔的故事》挑战了万能叙事模式，这种模式通常讲的是改造后的右翼分子生活得到了改善。在我看来，散文家的敏感性绝不是与历史无关的，它可以用在历史上。张伟、张成志、邵延翔等人的作品或许可以为这篇文章的历史关联性提供一个注脚。<br /> <br /> '''20世纪中国论文--特点、角色及其趋势'''<br /> <br /> ''Martin Woesler''<br /> <br /> '''摘要'''<br /> <br /> 本文第一部分论述散文的特点，首先，我将散文定义为一种自由形式的非虚构性主观表征。&quot;Essay&quot;，中文为''散文''，指较短的、自成一体的非虚构性文体，其作者试图用主观的“我”的视角来表达个人对某一对象或问题的体验。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:57, 18 December 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许晶==<br /> I will introduce the hypothesis that the Chinese and the Western essays belong to the same international genre and try to prove it by showing cross-cultural similarities both in form and content. However, there are special local characteristics of the Chinese essay, which I will name.<br /> <br /> In the second part, I try to narrate the beginnings of the rediscovery of the essay in the early 1980s. Not before 1995 did international scholarship start to use common philological methods to explore single essayists or the essays of groups and to write a history of the Chinese essay. Then I will show the topical development of political and apolitical essays.<br /> <br /> In the third part, I will ask, who were the major players in the Chinese essayism of the 20th century? <br /> <br /> ==Xu Jing 许静==<br /> I will introduce Lu Xun, with his sharp, polemic subgenre for daily-political use, the ''zawen''. Analysis reveals that he still remains the most-read essayist, not because of his ''zawen'', but because of his reminiscences and lyrical essays. Using the examples of the most often reprinted essays, “The Back View” (Zhu Ziqing 1928b), “The Moonlit Lotus Pond” (Zhu Ziqing 1927), “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing 1924), “Wild Vegetables of my Home Region” (Zhou Zuoren 1925), “Listening to the Cold Rain” (Yu Guangzhong 1974) and “In Memoriam of Xiao Shan” (Ba Jin 1979b), I will show that moving essays form the top tier of the genre. I will also try to stimulate further analytic works by giving hints for examples of promising intertextual and intersubjective comparison.<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> In the fourth section, I will name contemporary trends in essay writing. After the Cultural<br /> <br /> Revolution essays came from the perspective of an authentic eye. In the 1980s and especially in the 1990s, individualism demanded a critical reflection on the satisfaction of personal consumption needs and tried to give a personal orientation, as essayists pleaded for moral virtues. Other essays in the 1980s and 1990s were written with a kind of new subjectivism, targeted away from contemporary contradictions but appealing to the feelings of the audience by creating either a positive or a negative world. <br /> <br /> The fast-paced nature of current Chinese society demands diverting and short texts. There is also increasing consciousness of individuality, for which the essay is the most direct form of subjective expression, even more direct than the poem which is mediated by its metrical and formal demands.<br /> <br /> 在第四部分，我将列举当代散文写作的趋势。在文革之后，散文变得写实。尤其是在20世纪80年代和90年代，个人主义对个人消费的满足进行反思；像散文家呼吁美德一般，他们也尝试提供人生导向。其它20世纪80年代和90年代的散文以新主观主义写作，不再聚焦当代矛盾，而是创造出一个或是积极或是消极的世界来和读者产生共鸣。<br /> <br /> 当今中国社会快节奏的本质需要有趣且简短文本。人们对个性也越来越关注，而散文就是最直观的个人表达形式，诗歌与之相比还受到了格律和形式的限制。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 00:57, 18 December 2020 (UTC)Xu Mengdie<br /> <br /> 第四部分，我将阐述当代散文写作的趋势。文革后，散文开始写实。从20世纪80年代开始，尤其是在90年代，个人主义对个人消费需求的满足进行批判性的反思；正如散文家呼吁美德一般，他们也尝试提供人生导向。八九十年代的其他散文则以新的主观主义作为写作目标，不再聚焦当代矛盾，而是通过营造一个积极或消极的世界和读者产生共鸣。<br /> <br /> 当今中国社会快节奏的特点要求文字有趣而简短。人们的个性意识也在不断增强，而散文是最直接的主观表达形式，甚至比要求以格律和形式为中介的诗歌更加直接。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:40, 18 December 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> In China we see a renewed interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s and 30s. We become conscious of the banality of daily life when it is being used as a literary topic, as in the essay, which most commonly treats the genre of everyday life. The de-ideologization of Chinese society led to a rediscovery of the apolitical essays, dating from the Republican era, especially from the years 1923 to 1928. In the 1990s, the essayistic culture of political criticism of the 1980s has vanished; the only political relic is patriotism, for example expressed in the monograph published in 1996, ''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see ''China can say no''!).<br /> <br /> 在中国，我们能看到如同二十世纪二十年代至二十世纪三十年代，通过论文这一媒介，人们又有了兴趣讨论社会政治问题。当日常生活被用作文学主题时，我们就会意识到其平庸，就像在散文中一样，散文通常是针对日常生活的体裁。中国社会的去意识形态化，导致了民国时期，特别是1923 - 1928年的非政治性散文的重新发现。20世纪90年代，80年代政治批评的散文式文化消失了;唯一的政治遗迹是爱国主义，例如1996年发表的专著《中国可以说不!》-冷战后政治和情感的可能性”(见《中国可以说不》!)''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see ''China can say no''!).--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:35, 17 December 2020 (UTC)Xu Pengfei<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> '''1. CHARACTERISTICS<br /> <br /> 1.1 Defining the essay as a non-fictional subjective representation in a free form'''<br /> <br /> Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with ''xiaoshuo'' (fiction), sanwen (here in the broader meaning non-fictional prose)), lyrics ''shige'' (lyrics) and ''xiqu'' (drama). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term “''wu yunwen''” which corresponds to the term “epic” in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground. In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet.<br /> <br /> 1. 特征<br /> <br /> 1.1将本文定义为一种非虚构的主观自由表现形式<br /> <br /> 与国际文学类似，中国文学的基本细分一般是三类：史诗（小说、散文（这里指广义的非虚构散文））、诗歌和戏剧）。虽然没有纯正的史诗形式，但小说和散文常常被合称为中文的“无韵文”对应西方的“史诗”一词。从性质上看，这几种类型可以大致区分为以下几种。在史诗中，过去的事件被重述，一个宽广的、充实的故事占据了重要位置。在歌词中，鼓励读者去感受诗人当前的感觉，往往是告白式的感受。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> '''1. 特征<br /> <br /> 1.1 将散文定义为一种非虚构的主观自由表现形式'''<br /> <br /> 和国际文学一样，中国文学一般细分为三类：即史诗（包括小说、散文（这里指广义的非虚构散文））、诗歌和戏剧。小说和散文虽然没有纯正的史诗形式，但人们通常把他们合称为“无韵文”，这里中文的“无韵文”对应西方的“史诗”一词。这三种类型从本质上来说大致可以通过以下方式来区分：在史诗中，过去的事件被重述，一个广阔充实的故事主导了前景。在诗歌中，鼓励读者去感受诗人当时告白式的感觉。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 12:14, 17 December 2020 (UTC)<br /> <br /> ==Yang Hairong 杨海容==<br /> The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.<br /> <br /> “Essay,” Chinese mostly ''sanwen'' 散文 , is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Free-dom in form and content is essential for the essay.<br /> <br /> <br /> 该剧直接在独白或对话中唤起了一个独立的情节，并以此减轻了读者/观众的创造性想象力。 这篇散文作为史诗体裁的文章是一种自由形式的超脱的非虚构主观表现形式。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:29, 18 December 2020 (UTC)<br /> <br /> “Essay”的中文即散文，主要是较短的、自成体系的非虚构散文的流派，作者试图从主观角度调解对象或问题的个人经验。 这样，从不同方面进行了关联性的尝试，而不是作为日常使用的文本，而是通过艺术或教育上要求苛刻的语言手段进行了尝试，但仍以可访问的形式进行。 散文内容完全由散文家掌握，并且可以在更大的范围内了解主旨，甚至可以幽默地对其进行介绍。 形式和内容的自由对散文来说至关重要。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:29, 18 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, subcategoring the essay in too many small entities, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.<br /> <br /> Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems.<br /> <br /> 不同的观点在国际类型的文章：体裁主要是文学的分工，通过文学的学术专门思考，为了能够更容易地比较类似的文本。另一方面，在太多的小实体中对这篇文章进行了归类，在解释学的发现中质疑了这种划分的意义。人们还必须意识到文学本身不断变化的性质和科学观点的相对性，这仍然是一个及时的问题，即使它在国际上被接受。<br /> <br /> 地域差异对文章的重要性似乎不如对短篇小说、小说等已有的体裁那么大，而对诗歌的重要性则要小得多。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:45, 18 December 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.<br /> <br /> In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. <br /> <br /> ==Yang Yue 杨悦==<br /> This is a second hint that the modern Chinese essay belongs to the international genre of the essay. Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay). <br /> <br /> The choice of the term “''sanwen''” instead of “''suibi''” (familiar essay) or “''xiaopin wen''” (short literary piece) is of course arbitrary, but it corresponds to the present usage. In about 200 essay collections and histories between 1949 and 1996 known to the author, ''sanwen'' turned out to be the common expression, ''xiaopin'' was used only in one out of 25 essay titles of the PR China, in one out of 14 Taiwanese, and one out of ten Hong Kong publications.（文献无需翻译）<br /> <br /> 这是中国现代散文属于国际散文文体的第二个暗示。尽管写“短故事”的&quot;短篇小说&quot;的翻译被普遍接受，但两者之间的联系却不如西方散文和中国散文紧密。这一定义是我从5000多篇现代中国论文样本中得出的，也符合国际上对这篇论文的特殊理解。<br /> <br /> 当然，用“散文”代替“随笔”或“小品文”是随意的，但它符合现在的用法。在1949年至1996年作者所知的约200本杂文集和历史中,“散文”更为常见,而只有1/25的中国文章标题、1/14的台湾出版物，以及1/10的香港出版物使用“小品文”。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:16, 17 December 2020 (UTC)<br /> <br /> 这是中国现代散文属于国际散文文体的第二个表现。尽管大众普遍接受“短故事”和&quot;短篇小说&quot;的翻译，但两者之间的联系却不如西方散文和中国散文紧密。这一定义是我从5000多篇现代中国论文样本中得出的，也符合国际上对这篇论文的特殊理解。<br /> <br /> 当然，用“散文”代替“随笔”或“小品文”是随意的，但它符合现在的用法。在1949年至1996年作者所知的约200本杂文集和历史中,“散文”更为常见,而只有1/25的中国文章标题、1/14的台湾出版物，以及1/10的香港出版物使用“小品文”。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:27, 18 December 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it “Chinese”? In the occidental essay the ''form'' seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework. This can be shown with Cheng Ming-Lee, who subcategorises the “unfinished diary” or the “unfinished letter”. Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Cheng Ming-Lee: “essay in diary form” and “essay in letter form,” see Cheng Ming-Lee), they are accepted as essays.<br /> <br /> 周作人是第一个呼吁采用英语文风来体现全球化社会趋势的，除此之外，中文杂文还具有地方特色。 中文杂文如何在文化上定义，是什么让其更加“中国化”？ “形式”在西方杂文里，比在中文散文中，更为一个重要的区分标准。 在中国，甚至包括那些内容相似的文本，但都跨越了正式通用框架的边界。 程明利（Cheng Ming-Lee）将“未完成的日记”或“未完成的信件”分类，进而证明了这一点。这些文本在西方语境中属于个人使用的文本，因此属于非虚构的散文作品。 只有在将其改写之后，人们才称之为杂文。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 01:44, 17 December 2020 (UTC)<br /> <br /> 周作人是第一个呼吁采用英语文风来体现全球化社会趋势的，除此之外，中国散文还具有地方特色。从文化上来看，如何定义中国散文，是什么让其更加“中国化”？与中国散文相比，“形式”在西方散文中似乎是更为重要的区分标准。 在中国，甚至包括那些内容相似的文本，但都跨越了正式通用框架的边界。 程明利（Cheng Ming-Lee）将“未完成的日记”或“未完成的信件”分类，进而证明了这一点。这些文本在西方语境中属于个人使用的文本，因此属于非虚构的散文作品。 只有在将其改写之后，人们才称之为杂文。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:23, 17 December 2020 (UTC)<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén''“non-rhythmic prose,” which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning “short literary essay pieces”.<br /> <br /> Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.<br /> <br /> 这种对中国论文的倾向性更广泛的理解可以直接追溯到“sanwen（散文）”一词的中文含义：“wúyùnwén（无韵文）”，“非韵律散文”，它最初是指所有非虚构的散文。 在这种更广泛的含义上，它还包括个人或日常使用的文本。 但是，我只用狭义的“散文”来处理“sanwen”。<br /> <br /> 进一步的区别是，中国散文往往具有思想内涵，并表现出重复性和俗语性等风格特征。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 13:46, 16 December 2020 (UTC)<br /> 在中国，这种对散文更广泛理解的趋势，可以直接追溯到“散文”一词在中文里所具有的内涵:“无韵文”“非韵律散文”，最初指的是所有非虚构的散文。在这个更广泛的意义上，个人或日常使用的文本也包括在内。但我说的“散文”只是狭义的“短篇小片段”。进一步的区别是，中国散文往往具有思想内容，并表现出重复、用语等文体特征。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 13:53, 16 December 2020 (UTC)Xiao Xi<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> '''1.2 I will describe the beginnings of the discovery of the essay.'''<br /> <br /> Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay. <br /> <br /> In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).<br /> <br /> '''1.2我将介绍发现散文的开端'''<br /> 从1979年开始，虽然散文写作增多，但却在十年之后才首次产生对这一现象的理论思考。又过了十年，国际汉学界才开始意识到散文现象。 <br /> <br /> 20世纪80年代，中国学术界首次以撰写散文史和收集散文的方式对散文文学进行重大的反思，这些反思首先集中在鲁迅等个别作家的散文作品上。另外，90年代的两次散文会议也没有显示出国际学术研究的动向。1995年以后，国际学术界才开始使用共同的语言学方法来探讨单个散文家（关于梁漱溟[梁锡华] 库宾1995年，关于王蒙 沃斯勒1995年，关于刘再复 曼斯伯格1995年[未发表]）或群体散文家的散文（ 关于新月派 &quot;瓦格纳 1996年）。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 07:53, 17 December 2020 (UTC)<br /> <br /> ==Yi Huan 易欢==<br /> <br /> Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998). For the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, see Lau/Goldblatt, ''Modern Chinese Literary Thought'' 1996, see Denton).<br /> <br /> Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones. In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th.<br /> 直到90年代后半期，才开始用西方语言学的手段研究中国散文（吴莫汀 1998）。散文第一次作为与小说、诗歌同等的文体被收入西方文学选集（《哥伦比亚现代中国文学选集》1995，见劳/葛浩文 《中国现代文学思潮》1996，见丹东）。<br /> 中国台湾和西方对散文的重视存在着地区差异。在美国，人们往往按照西方人的口味来选择散文，完全不知名的作家和知名作家一样，都会得到同样多的篇幅。在台湾，鲁迅被雪藏了很久，而如今，在我所进行的关于90年代发行量最多的中国散文家排行榜中，鲁迅排行第16位。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 15:44, 17 December 2020 (UTC)<br /> <br /> 直到90年代后半期，才开始用西方语言学的手段研究中国散文的历史（Woesler 1998）。散文第一次作为与小说、诗歌同等的文体被收入西方文学选集（《哥伦比亚现代中国文学选集》1995，见劳/葛浩文，《中国现代文学思潮》1996，见丹东）。<br /> 中国台湾和西方对散文的重视存在着地区差异。在美国，散文往往按照西方人的口味被人们选择，完全不知名的作家和知名作家一样，都会得到同样多的篇幅。在台湾，鲁迅被雪藏了很久，而如今，在我所进行的关于90年代发行量最多的中国散文家排行榜调查中，鲁迅排在第16位。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 03:13, 18 December 2020 (UTC)<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode, 50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.<br /> <br /> Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation. Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai [announced]) or already published (Pollard 1999, Woesler 2000). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. Most of the contributors to the collection in hand met in 2000 on a first international conference on the essay.<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays.<br /> <br /> '''1.3 20th Century Development and Hindrances'''<br /> <br /> The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.<br /> <br /> 在未来，新的《波恩中国文学史》将给这篇文章一个合适的位置，它将有两到三卷专供《比集》、《酉集》和其他文章的专供。<br /> “1.3 20世纪的发展与阻碍”<br /> 政论散文的专题发展经历了一个从1907年启蒙教育散文到20世纪30年代日政散文的转变，再到20世纪40年代的抗日宣传和20世纪50、60年代的思想宣传。在20世纪80 - 90年代，日常兴趣政治的讨论比20 - 30年代要少。在20世纪80年代所有类型包括诗歌和散文为意识形态服务，被评论家用于反对关于共产主义的叙述或毛泽东主义的艺术理解。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:39, 18 December 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. (Yu Guangzhong's essay “The Wolves are Coming” shows that the ideological perspective did not only harm mainland essaywriting, see Yu Guangzhong 1977.) The essay seems to be the only genre in China which has kept its educatio-nal claim with the exception of essays which claim to be “art pourt l'art”.<br /> <br /> I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda.<br /> <br /> 而在20世纪80年代，政治问题在关于最佳社会制度的讨论（也在一般文学和电影中）中复兴。到了20世纪90年代，散文家们重新定义了自己的角色，首先是与大众的消费取向相对应。（余光中的散文《狼来了》表明，意识形态的视角不仅仅破坏了大陆的散文创作，见余光中1977年）。这篇散文似乎是中国唯一一个保持其教育主张的体裁，除了那些号称“艺术的散文”。<br /> 我提到了缺乏西方语言的翻译。其中一个原因可能是一些学者的印象，认为许多中国散文只是宣传。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:17, 18 December 2020 (UTC)<br /> <br /> 划词翻译<br /> 20 世纪 80 年代，在讨论社会的最佳制度时，政治问题又出现了复苏，(也包括在一般的文学和电影中) 在 20 世纪 90 年代变成了纯粹的非政治性和更具哲学性的-道德主题，在那里，散文家定义了他们的角色，首先是要与大众的消费取向相对应。余光忠的“狼来了”一文表明，意识形态的视角不仅损害了中国大陆的文学创作，参见余光中 1977 年的作品) 似乎是中国唯一保留其教育主张的体裁，但主张“艺术是艺术”的论文除外。<br /> <br /> 我提到缺乏西方语言的翻译。其中一个原因可能是一些学者的印象，许多中国的文章只是宣传。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:50, 18 December 2020 (UTC)<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character. In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.<br /> <br /> 在20世纪40年代甚至50年代，这可能是真的，但如今，正如绝大多数出版物所证明的那样，情况已经改变了。这需要更仔细的观察:自1949年以来,在政治上积极的文学一直在政府的鼓励下,导致了统计上的悖论:在20世纪90年代的散文家中，大多数人不是持肯定态度的作者而是持批判态度的散文家，他们的文章是非政治的、有时甚至带有挑衅特征，以此来反对为政治服务的秩序。在20世纪90年代，中华人民共和国二三十年代的文本仍然和当代中国的文本一样被重印。显然，我们可以得出这样的结论:20世纪50年代的政治肯定随笔只存在于特殊的政治随笔集中，在21世纪初，当代著名作家的作品和中国读者的阅读都将不复存在。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 01:22, 17 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> In restrictive regimes, where freedom of speech is not guaranteed, people still have different political ideas. To speak out directly is unhealthy, so in these countries people use art to express their differences. The most direct way of expressing political ideas in art is literature. To trick the censors, one must find indirect ways of expression. In an exhibition of ''Tendency Quarterly'', 16 banned Chinese magazines were displayed. Most of the magazines choose the poem as their favorite form to express political thoughts. After having been banned, some magazines went abroad and now are published in exile. The internet has added a number of underground magazines, which are available also inside mainland China. In the last years of the 20th century, one can find an increase of essays in these magazines. This might be a hint, that the authors dare to speak out more directly.<br /> <br /> 在限制体制下，言论自由得不到保障，人们仍然有不同的政治观点。直接说出来是不健康的，所以在这些国家，人们用艺术来表达他们的差异。艺术中表达政治思想最直接的方式是文学。要骗过审查者，人们必须找到间接的表达方式。在“趋势季刊”展览中，展出了16本被禁的中文杂志。大多数杂志选择诗作为他们最喜欢的表达政治思想的形式。在被禁之后，一些杂志社搬到了国外，现在以流亡的方式出版。互联网增加了地下杂志数量，这些杂志也可以在中国大陆境内阅读。在20世纪的最后几年里，人们可以在这些杂志上发现散文数量越来越多了。这可能是一个暗示，暗示作者敢于更直接地表达出来。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:23, 17 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (“On Dreams,” see Zhu Ziqing 1928c) and Zhou Zuoren from 1917 (''My Own Garden'' 1923, “The Fly” 1924, “Reading on the Toilet” 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> '''2. Actors: Lu Xun, Zhu Ziqing, Ba Jin, Wang Zengqi, Yu Guangzhong'''<br /> <br /> Who were the major players in the Chinese essayism of the 20th century?<br /> <br /> Here is not the place to recount the struggle, which many of the today well-known heroes of the May-Fourth Movement had to establish their literary values and narrative. Unlike today, at that time the authors were also editors and publishers of magazines and therefore had a strong position in the cultural field.<br /> <br /> One thinks first of Lu Xun, who invented a sharp, polemic subgenre for daily-political use, the ''zawen''. In his own, broad understanding of ''zawen'', it could contain poems, short stories, drama etc. From a genial writer of short stories, he turned to ''zawen'' for the rest of his life, leaving behind a legacy of more than 700 essays.<br /> <br /> '''2、参与成员：鲁迅、朱自清、巴金、汪曾祺、余光中'''<br /> <br /> 20世纪中国散文的主要参与者是谁？<br /> <br /> 这里不是叙述谁于争雄的地方，而当今许多著名的五四英雄人物必须确立自己的文学价值观和叙事方式。与现在不同的是，当时的作者同时也是杂志的编辑和出版商，因此在文化领域有着很强的地位。<br /> <br /> 人们首先想到的是鲁迅，他发明了一种尖锐的、具有争议性的日常政治用的亚体裁，即''杂文''。在他自己对''杂文''的广泛理解中，它可以包含诗歌、短篇小说、戏剧等。他从一名亲切的短篇小说作家转向了一名撰写''杂文''的作家，留下了700多篇文章。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:02, 17 December 2020 (UTC)<br /> <br /> '''2. 参与者：鲁迅、朱自清、巴金、汪曾祺、余光中'''<br /> <br /> 20世纪中国散文的主要人物有哪些?<br /> <br /> 这里不会讲述这场斗争，当今许多著名的五四运动英雄不得不建立他们的文学价值和叙事。与当今不同的是，当时，作者同时也是杂志的编辑和出版人，因此在文化领域有很高的地位。<br /> <br /> 人们首先想到的是鲁迅，他为日常政治生活创造了一个尖锐的、争论不休的亚文体——''杂文''。在他广义理解中，''杂文''包括诗歌、短篇小说、戏剧等。他从一个和善的短篇小说作家，转向成为《杂文》作家，终其一生，留下700多篇散文。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 10:30, 17 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> During his lifetime, with his sharp attacks, he was the most known essayist. But these essays were of daily-political interest only and are seldom read today. Analysis reveals now that he stills stays the most often read essayist until the end of the 20th century. Not his ''zawen'', but the following reminiscences and lyrical essays remain until the end of the century in the top-ten list of essays: “Autumn Night” (Lu Xun 1925b), a lyrical essay from ''Wild Grass'', in “Mr. Fujino” (Lu Xun 1926c), Lu Xun remembers his Japanese teacher, in “The Kite” (Lu Xun 1925a) he remembers how he hurted his younger brother's feelings once, and “From Hundred Plant Garden to Three Flavour Study” (Lu Xun 1926b), which recounts his childhood experience also with classical literature. <br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> The other most often printed essays are from Republican or modern times: The first is “The Back View” (Zhu Ziqing 1928b). With his whole work, this author ranks shortly behind Lu Xun. From this and other essays one can derive the criteria for essay best sellers in the P.R. of China: In “The Back View,” filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous “The Moonlit Lotus Pond” (Zhu Ziqing 1927), also written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader. In “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing 1924) the author describes a beautiful landscape and makes ancient customs alive again. Nostalgic home feelings are the emotional identification element in “Wild Vegetables of My Home Region” (Zhou Zuoren 1925).<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> Yu Guangzhong is represented in this list with the nostalgic “Listening to the Cold Rain” (Yu Guangzhong 1974). In Ba Jin's most often reprinted essay “In Memoriam of Xiao Shan” (Ba Jin 1979b) he remembers his wife. <br /> <br /> Works of authors who decided to serve an ideology are far less often reprinted than the eight authors found to be leading: Mao Dun and Guo Moruo (rank 15) are mentioned in the average as seldom as Lu Xun in Taiwan and Yang Shuo (ranks 30) appears only half as often.<br /> <br /> Therefore one can state, that unpolitical, moving essays form the top.<br /> <br /> For a list of the 36 most often (re)printed essayists, and the top 59 essays please see the mentioned monograph (Woesler 1998b).<br /> <br /> 余光中因其怀旧散文《听听那冷雨》（余光中 1974）而榜上有名。在巴金最常被转载的散文《怀念肖珊》(巴金 1979b）中，他追忆了他的妻子。<br /> <br /> 决定为某种意识形态服务的作家的作品被转载的次数远远少于处于领先地位的八位作家：茅盾和郭沫若（排名15位）在台湾被提及的平均数与鲁迅一样少，而杨朔（排名30）的出现频率仅为一半。<br /> <br /> 因此，我们可以说，非政治性的、感人的文章占据了榜首。<br /> <br /> 有关36个最常（重新）印刷的散文家和排名前59位的散文家的列表，请参见所提到的专着（Woesler 1998b）。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 03:35, 18 December 2020 (UTC)<br /> <br /> <br /> 余光中因其怀旧散文《听听那冷雨》（余光中 1974）而榜上有名。在巴金最常被转载的散文《怀念肖珊》(巴金 1979b）中，他追忆了他的妻子。<br /> <br /> 决定为某种意识形态服务的作家的作品被转载的次数远远少于处于领先地位的八位作家：茅盾和郭沫若（排名15位）在台湾被提及的平均数与鲁迅一样少，而杨朔（排名30）的出现频率仅为一半。<br /> <br /> 因此，我们可以说，非政治性的、感人的文章囊获了榜首。<br /> <br /> 有关36个最常（重新）印刷的散文家和排名前59位的散文家的列表，请参见所提到的专着（Woesler 1998b）。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:41, 18 December 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> The huge number of essays and essayists offer many possibilities for intertextual and intersubjective comparison, out of which only some thoughts can be indicated here due to lack of space. They might stimulate further analytic works. Lu Xun, Zhou Zuoren and Zhu Ziqing wrote about the same occasion, the massacre on March 18, 1926 quite differently. Zhu Ziqing attacks the government directly and promises it a soon collapse (“Report of the Government’s Great Massacre,” Zhu Ziqing [1926]). Lu Xun described the massacre in an unctuous chant instead (“Jinian Liu Hezhen jun” Lu Xun 1926a), and Zhou Zuoren bitter-humorously in his essay “Different Ways to Die” (Zhou Zuoren 1926).<br /> <br /> Different ways of coming into terms with the 'Cultural Revolution' we can see in the essays of Ba Jin, Bing Xin, and Wang Meng: Ba Jin enlucidated unsparingly to the extend of self-accusation (Ba Jin 1979a).<br /> <br /> 大量的散文和散文家为互文性和主体间性的比较提供了许多可能性，但由于篇幅有限，这里只能表达一些想法。它们可能激发进一步的分析工作。鲁迅、周作人、朱自清对同一事件——1926年3月18日的大屠杀——的描写则截然不同。朱自清直接攻击了政府，并断定它很快就会崩溃(朱自清《政府大屠杀报告》[1926])。鲁迅用虚情假意的歌谣(《纪年刘和真君》鲁迅1926a)描述了这次大屠杀，而周作人则在他的散文《不同的死法》(周作人1926)中诙谐而辛辣地描写了这次大屠杀。<br /> <br /> 从巴金、冰心、王孟等人的文章中，我们可以看到巴金对“文化大革命”的几种不同的看法:巴金的狂热达到了自我谴责的程度(巴金1979a)。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 13:43, 16 December 2020 (UTC)<br /> <br /> 大量的散文和散文家为互文性以及主体间性的对比提供了多种可能性。但由于篇幅有限，这里只能展示一部分想法。它们或许能够激发进一步的分析作业。鲁迅、周作人和朱自清都描写过同一场景，1926年3月18日的大屠杀，但是描绘的手法不尽相同。朱自清正面攻击政府，并断定它不久就会垮台（《执政府大屠杀记》朱自清 1926）。而鲁迅用谄媚的诗歌描述了这次大屠杀（《几年刘和珍君》 鲁迅 1926a)，周作人在他的散文《不同的死法》以幽默而苦涩的手法描写了这次大屠杀。<br /> <br /> 从巴金、冰心、王蒙的散文中，我们可以看到，巴金对“文化大革命”有着不同的理解方式：巴金不遗余力地自我谴责（巴金1979a）。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 07:38, 18 December 2020 (UTC)<br /> 大量的散文和散文家为互文性和主体间性的比较提供了许多可能性，但由于篇幅有限，这里只能表达一些想法。它们可能激发进一步的分析工作。鲁迅、周作人、朱自清对同一事件——1926年3月18日的大屠杀——的描写则截然不同。朱自清直接攻击了政府，并断定它很快就会崩溃。而鲁迅用谄媚的诗歌描述了这次大屠杀（《纪念刘和珍君》 鲁迅 1926a)，周作人在他的散文《不同的死法》以幽默而苦涩的手法描写了这次大屠杀。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:58, 18 December 2020 (UTC)<br /> 从巴金、冰心、王蒙的散文中，我们可以看到，巴金对“文化大革命”有着不同的理解方式：在自我批评方面，巴金对自己毫不手软。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:58, 18 December 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> Wang Meng dealed with it humorously (Wang Meng 1980), Bing Xin tried to pretend continuity by naming her works after the 'Cultural Revolution' with the same titles as before: The successful collections ''Letter to the Children'' (Bing Xin 1931), and ''Letter to the Children, vol. 2'' containing texts since 1958, were followed by ''Letter to the Children, vol. 3 ''with texts since 1978. In her “Autobiographical Notes” (Bing Xin 1982) she simply skips the 'Cultural Revolution'.<br /> <br /> A trip in early August 1923 (Mei/Wu, 46) with Yu Pingbo to the Qinhuai river, which Zhu knew from an earlier visit (Chen Xiaoquan, 68), inspired both to write in the same year at the age of about 24 and 26 an essay with the title “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing dated 10/11, 1923, Yu Pingbo dated 8/22, 1923, jointly published in ''Eastern Miscellany''), an English translation by Hu Shiguang can be found in ''Chinese Literature'' 1 (Spring 1988) Yu 162-172, and Zhu 173-182 resp. Zhu Ziqing and Yu Pingbo continue here a tradition of Chinese poets, writing poems on a common experienced journey to compete with each other. I found, that Zhu Ziqing's essays is more persuading.<br /> <br /> 王萌幽默地处理了这一问题（王萌1980），冰心试图通过在&quot;文化大革命&quot;后用与以前相同的标题命名自己的作品来假装连续性：成功收藏了《给儿童的信》（冰心1931） ）和“给孩子的信，第一卷， 2”（包含自1958年以来的文字），其次是“给孩子的信”（第一卷）,3”自1978年以来一直使用文字。在她的“自传笔记”（Bing Xin 1982）中，她只是跳过了“文化大革命”。<br /> <br /> 朱元培在1923年8月上旬（梅/吴，46岁）与秦淮河的一次旅行（陈小泉，68岁）认识了秦淮河，这激发了双方在同年24岁左右写诗的初衷。 26一篇题为“在秦淮河上泼桨和灯笼光”的文章（朱自清1923年10月11日，于平波1923年8月22日，在《东方杂记》上共同出版），英文翻译胡世光的著作可以在《中国文学》 1（1988年春季）中找到Yu 162-172和Zhu 173-182。朱自清和余平伯在这里延续了中国诗人的传统，在经历了共同竞争的共同经历中创作了诗歌。我发现朱自清的论文更具说服力。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 02:22, 17 December 2020 (UTC)<br /> <br /> 王蒙幽默地处理了这一问题（王蒙1980），冰心试图以'文革'后的作品命名，标题与以前相同，以假装连续性。成功的作品集《给孩子们的信》（冰心1931年）和《给孩子们的信，第二卷》收录了1958年以来的文字，随后又出版了《给孩子们的信，第三卷》，收录了1978年以来的文字。在她的《自述》（冰心1982）中，她干脆跳过了'文革'。<br /> <br /> 1923年8月上旬（梅/武，46）与俞平伯到秦淮河游玩，朱自清早年曾到过秦淮河（陈孝全，68），激发了两人的灵感，两人在同年分别约24岁和26岁时写了一篇题为《秦淮河上的溅桨和灯火》的文章（朱自清10/11。1923年，俞平伯日期为1923年8月22日，合刊于''东方杂记''），胡世光的英译本见''中国文学''1（1988年春）俞162-172，朱173-182 resp。朱自清和俞平伯在这里延续了中国诗人的传统，在共同经历的历程中写诗，互相竞争。我发现，朱自清的文章更有说服力。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:07, 17 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Wang Meng, Jia Pingwa and others wrote essays entitled “Falling leaves” (Jia Pingwa 1981, Wang Meng 1989) on the transitoriness of life in the allegory of falling leafs. It is interesting and surprising to discover the similarity between a, the differences between the description and interpretation of the falling leaves and b, the differences between the different authors' self-understanding and philosophy. One may compare essays entitled “On dreams” with 58 years difference in their origin (Zhu Ziqing 1928c, Bing Xin 1986). Moreover it is interesting to compare conceptions of essayism as we can see in Lu Xun's theory of “emerging” and “blossoming” and Zhou Zuoren's theory of the synthesis of the gongan school and the English essay.<br /> <br /> 王蒙、贾平凹等人共同撰写了《落叶集》(贾平凹1981、王蒙1989)，论述落叶寓言中生命的短暂。对落叶的描述与解读之间存在的差异以及不同作家的自我理解与人生哲学的差异，这两者之间竟然发现有相似之处，实在令人惊喜。人们可以将《论梦》这篇散文与有58年历史的渊源差异作比较（朱自清1928c，冰心1986）。此外，比较鲁迅的“兴”与“花”与周作人的“公安派”与“英语散文”的综合理论中的散文主义概念，是很有意思的。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 02:11, 18 December 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> '''3.Trends<br /> <br /> 3.1 The essay as a snapshot of contemporary thoughts'''<br /> <br /> What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.<br /> <br /> The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a wilfully “corrected” truth.<br /> 3.潮流与趋势<br /> “中国当代散文写作的现状如何?”<br /> 它的地位应该与后现代主义元素、后殖民主义思维、解构主义等最近的分类方法、视角和术语恰当地联系起来。<br /> “文革”后散文增多，因为原因有两点：1.散文比其他文体更真实地表达个人经历的能力 2.它对历史真理的内在诉求。<br /> 但散文并不是客观真实的保证:它同时具有主观性，作者有意识地对自己的形象进行调整。<br /> 这就会导致所报道的真相只能是主观的，防止有人故意“篡改”真相。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:52, 18 December 2020 (UTC)<br /> <br /> 3.趋势<br /> 3.1作为当代思想的快照的散文<br /> 中国当代散文创作的现状如何？它的定位应与后现代主义、后殖民主义、解构主义等现代理论方法、视角和术语保持适当的联系。<br /> <br /> “文革”后散文产量的增加，这可以用散文的能力来解释，因为它具有内在的历史真理诉求，比其他文体更真实地表达个人经历。但散文并不是客观真实的保证，同时它也是主观的，散文作者有意识地调整自己的形象。这就把报道的真相限制在主观上，并承担着故意“修正”真相的风险。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:55, 19 December 2020 (UTC)<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (“Serene” Wang Meng 1992, “First make your own things in a good way” Wang Meng 1994). These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive (“Shanxi Opera,” Jia Pingwa 1984) or negative world (“The Nightmare,” Si Yu 1995).<br /> <br /> '''3.2 The essay as the genre of the giddy-paced nature of society, individuality, socio-political discussions, de-ideologization, everyday's profaneity and banality'''<br /> <br /> From the essay, we can see contemporary ''trends of literature'', which are also reasons for the increase in volume of this genre in the 1990s:<br /> <br /> -The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall, xiii);<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> -The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands; <br /> <br /> -A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.<br /> <br /> -The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.<br /> <br /> -The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays. For example Ba Jin complains in “Remembering Xiao Shan” (Ba Jin 1979b) about the death of his wife in the 'Cultural Revolution'.<br /> <br /> - 散文是个性意识增强的最直接的主观表达形式，甚至比具有韵律和形式要求的诗歌更直接；<br /> - 通过散文重新唤起人们对讨论社会政治问题的兴趣，如20世纪20年代或30年代。<br /> - 因成为文学话题，日常生活的平庸性变得有意识，最常见的是日常生活文体——散文。<br /> - 中国社会的去意识形态化。今天，不是政府要求的肯定性文本，而是非政治性的散文在最前面，大多可以追溯到共和党时代，特别是1923年至1928年。这一观察结果得到上述统计分析结果的支持。1949年以后，人们阅读最多的政治散文是批评散文。例如巴金在《追忆萧山》（巴金1979）中控诉妻子在“文化大革命”中去世。<br /> <br /> - 散文是个性意识增强的最直接的主观表达形式，甚至比具有韵律和形式要求的诗歌更直接；<br /> <br /> -通过这篇文章唤起人们对讨论社会政治问题的关注，如20世纪20年代或30年代的情况。<br /> <br /> -日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。<br /> <br /> 中国社会的去意识形态化。今天，不是政府要求的肯定性文本站在最前面，而是非政治性的文章，大多可以追溯到共和党时代，特别是1923年至1928年。这一观察结果得到上述统计分析结果的支持。1949年以后，人们阅读最多的政治论文是批评文章。1949年以后，人们阅读最多的政治散文是批评散文。例如巴金在《追忆萧山》（巴金1979）中控诉妻子在“文化大革命”中去世。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:31, 19 December 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> -Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain. This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation toward customers (former: “readers”). <br /> <br /> -In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in-dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.<br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph ''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see China can say no!).<br /> <br /> The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art. Also trends like the use of ordinary language, which one finds in novels since 1993 (Feidu, Jia Pingwa 1993; ''Ying'er'', Gu Cheng 1993) and ''New Borderlessness'' since 1995, cannot be proven in the essaywriting.<br /> <br /> 20世纪90年代，80年代受到政治批评的散文文化已经消失，唯一留下的政治产物是爱国主义。例如，1996年出版的专著《中国可以说不——冷战后时代的政治与情感抉择》（见于《中国可以说不》）。<br /> <br /> 从后现代主义小说的角度来看，我们找不到后现代散文的原因就是散文具有直接性。散文作为一种文体，是沟通作者和读者的桥梁，而不是一种艺术对象。通常艺术对象指企图引起不同的解读，或依靠独一无二的形式或内容，甚至引用前现代主义的特点使其成为一种独特的艺术对象。另外，1993年出版的小说《废都》（贾平凹 1993年）、《英儿》（顾城 1993年）以及1995年出版的《新无界》，作者在这些作品中日常语言的使用趋势在散文写作中也未得到体现。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:18, 17 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> -Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being “The Small Dog Baodi” (Ba Jin 1981), in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before (“In Memoriam of Xiao Shan II,” Ba Jin 1984b). Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Wang 1992), helpful for the reading of “Rain in Kunming” (Wang Zengqi [1984]) as well as for “Shanxi Opera” (Jia Pingwa 1984). <br /> <br /> 1 Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.<br /> <br /> 2 Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay “The Nightmare” (Si Yu 1995), where the author appears as a deconstructionist, the I-narrator even is drawn near to suicide.<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> -The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing ''fictional truth'' through the metaphor of his dog Baodi (Schwarcz 1996).<br /> <br /> '''20th Century Chinese Essay - A Survey of the Genre and New Insights Into the Essayists Ba Jin, Zhou Zuoren, Zhu Ziqing'''<br /> <br /> Martin Woesler<br /> <br /> The narrative established by literary histories and anthologies has drawn a distorted picture of 20th century Chinese literature: The genre of the essay was almost ignored. In my paper I will demonstrate, how the picture of three authors change, if we take into consideration also some of their esayistic work. Here I choose the example of the critical political essay. The essay tells us more about an author than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions.<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> In 1927, when the writers were threatened by a massacre among leftists by the National People's Party in Shanghai, a whole generation of writers found a common base in communist ideology, formally expressed in 1930 in the foundation of the &quot;League of Left-Wing Writers&quot;. <br /> <br /> Many writers had to define and often redefine their position and self-understanding in reaction to the changing political climate, often burying their own ideals, in the larger perspective for the seeming &quot;needs&quot; of society, which also claimed the author to be one of its products. This struggle of finding a position in a politicized environment is best documented in the essay --- &quot;a genre of self-reflection&quot;. Moreover, by its very nature, the essay overcomes boundaries of form and content. Therefore there are more essays than there is fiction free from political thoughts. Some essayists even went a step further, deconstructed the master narrative of leftist ideology, like the three writers I will talk about today.<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> '''Zhou Zuoren'''<br /> <br /> The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that a sophisticated May Fourth genius &quot;degenerated&quot; and later became a national &quot;traitor&quot;. Zhou's writings were officially considered bad literature, a total elimination of his texts was only prevented, because of the fame of his brother, who became a state author posthumously through the valuing of Mao Zedong. Actually the reception of his essays reaches a new climax now, in the essay collections of the 1990s, his essays rank 3rd, as I was able to proof with a survey of 5000 essays. That makes clear that his political engagement had no effect on the brilliance of his literary works.<br /> <br /> 周作人<br /> <br /> 中华人民共和国官方文学史对周作人的主要叙述是，一个卓越的五四天才“退化”，后来成为民族“叛徒”。 周的著作被官方认为是不良文学，由于他兄弟的名声，而他的兄弟因高度评价毛泽东死后成为国家作家，这彻底阻止了他的著作的全部出版。 实际上，现在他的论文的接受度达到了一个新的高潮，在1990年代的论文集中，他的论文排名第三，正如我通过对5000篇论文的调查所证明的那样。 这清楚地表明，他的政治参与对他的文学作品的辉煌没有影响。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 02:23, 17 December 2020 (UTC)<br /> <br /> 周作人<br /> <br /> 民国官方文学史对周作人的主要叙述是，一个老练的五四天才 &quot;堕落 &quot;了，后来成了民族 &quot;汉奸&quot;。周作人的文章被官方认为是劣质文学，彻底消灭他的文字只是因为他兄弟的名气，他通过重视毛泽东而成为国家作家，这彻底阻止了他的著作的全部出版。其实现在对他的散文的接受达到了一个新的高潮，在90年代的散文集中，他的散文排在第三位，这是我对5000篇散文的调查所能证明的。这说明，他的政治参与对他的文学作品的辉煌没有影响。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 02:52, 17 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> The official assessment of the People's Republic is that Zhou's work experienced a caesura in 1938 due to his &quot;degeneration&quot; and opposition against the patriotic campaign. Zhou kept trying to aesthetizise the little things of the everyday out of the subjective experience of his private space his whole life, only seven months after the incident at Marco Polo bridge he showed that it was again possible to write about a candy seller for which he had been critizised as &quot;paralyzing&quot; . But there was indeed a caesura, namely the change in style and subject in his essays on literature, art etc. to ''zhengjing'' 正經­ (serious, intentional essays), and ''xiánshì'' 閑適 (essays for one’s own enjoyment). But this change is located not before his outlawing through Mao Zedong (1942), and his arrest by the Guomindang (1945). Therefore not the Japanese suppressors should be made responsible for the retreat of this great writer, but his Chinese compatriots. <br /> <br /> 3 C. T. Hsia. [Note: Some of the annotations are in German and are translated into English during the editiorial work for the forthcoming edition.]<br /> <br /> 4 (&quot;Mai tang 卖糖&quot; 1924).<br /> <br /> 5 (Lu Xun 1934, Zhu Zhaoluo 1943).<br /> <br /> 人民共和国官方的评价是，在1938年，由于他自身的 &quot;堕落 &quot;和反对爱国运动，周春芽的作品经历了一个尾声。周作人一生都在试图将日常的小事从私人空间的主观经验中审美出来，在马可波罗桥事件发生七个月后，他才表明，他又可以写一个卖糖的人了，他曾因此被批判为 &quot;麻痹&quot;。但是，他的文章确实有一个高潮，那就是他的文艺文章在风格和主题上发生了变化，变成了严肃的、有意的文章和自娱自乐的文章。但这一变化并非在他被毛泽东取缔（1942年）、被国民党逮捕（1945年）之前。因此，对于这位伟大作家的退隐，不应该由日本的镇压者负责，而应该由他的中国同胞负责。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 13:35, 16 December 2020 (UTC)<br /> <br /> 人民共和国官方的评价是，在1938年，由于他自身的 &quot;堕落 &quot;和反对爱国运动，周春芽的作品经历了一个尾声。周作人一生都在试图将日常的小事从私人空间的主观经验审美中剥离出来，在马可波罗桥事件发生七个月后，他才表明，他又可以写一个卖糖的人了，他曾因此被批判为 &quot;麻痹&quot;。但是，他的文章确实有一个高潮，那就是他的文艺文章在风格和主题上发生了变化，变成了严肃的、有意的文章和自娱自乐的文章。但这一变化并非在他被毛泽东接力（1942年）、被国民党逮捕（1945年）之前。因此，对于这位伟大作家的退隐，不应该由日本的镇压者负责，而应该由他的中国同胞负责。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:43, 16 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> So the first correction of the narrative is, that his literature was ''not'' effected by socio-political circumstances in quality, but in contents. And there is a second master narrative on Zhou Zuoren, which says that he was an apolitical author. Actually, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance . In the modernizing society, he advocated the liberation of women and asked to &quot;treat children as full subjects with their own external and internal lives&quot; and to &quot;make children the essence of children's literature&quot; , literature should make the society more humane.<br /> <br /> The second example, where a reading of some of his essays lets us rediscover the author is Ba Jin: He is known for his practical essays with anarchistic and communist background in the 1930s and 40s, for his opportunistic self-criticism, self-censorship and the accusation of a writers' collegue during the cultural revolution. After the 'Cultural Revolution' he seemed to emerge as a righteous character , when he claimed to have done all this under pressure. He then devoted his essays to the working up of the trauma of the 'Cultural Revolution', for example in the self-accusing essay series ''Random Thoughts''.<br /> <br /> 因此，对叙事的第一个纠正是，他的文学不是在质上受社会政治环境的影响，而是在内容上。还有一个关于周作人的第二个故事，说他是一个不关心政治的作家。事实上，他想把他对政治声明的无欲理解为一种政治声明本身。对他来说，文学不是革命的手段，而是反抗的手段。在现代化社会中，他倡导妇女解放，要求“把儿童作为一个完整的主体，有自己的外在和内在的生命”，“使儿童成为儿童文学的本质”，文学要使社会更加人性化。<br /> 第二个例子，读了他的一些文章，我们就可以重新发现这个作者是巴金：他以他在20世纪30年代和40年代写作的具有无政府主义和共产主义背景的实用文章而闻名，因为他在文革期间机会主义的自我批评、自我审查和对作家圈的指责。在“文化大革命”后，当他声称自己是在压力下做这一切的时候，他似乎成了一个正直的人。然后，他把自己的散文归于“文化大革命”的创伤中，例如在自责的系列随笔《随想》中。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:50, 19 December 2020 (UTC)<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> Since they were seldom reprinted, two of Ba Jin’s critical essays &quot;''Independent Thoughts''&quot; and &quot;''Writers’ Courage and Sense of Duty''&quot;, dating 1956 and 1962 were overlooked. With them, Ba Jin turns out to be a lifelong independant writer. The two essays were criticised. He had to deny their contents and later they were censored. Even nowadays, these texts are not easy to find in anthologies and dictionaries in the P.R.C. and Taiwan.<br /> <br /> &quot;''Independant Thoughts''&quot; dated 1956, propagates the freedom of the individual and of thoughts. This essay was written in the '100-Flower-Movement', when criticism was induced officially. Ba Jin corresponded only to the 'mainstream', although his criticism was unusually sharp. Much more distinctly directed against the 'mainstream' was the second text, which I want to introduce shortly.<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> &quot;''Writers’ Courage and Sense of Duty''&quot;, a speech at the second Shanghai congress of writers and artists in early 1962, has later been censored at seven striking places. In it, Ba Jin judges very hard about himself and his collegues: At different campaigns against literary works they would have followed the political demands opportunistically and therefore were traitors. The second target of Ba Jin's criticism were the censors and critics, who would posess more power than the writers and that without legitimation. Ba Jin interpreted Mao's Yan'an speeches on art and literature in the way, that writers should themselves take over responsibility.<br /> <br /> '''&quot;The Small Dog Baodi&quot; as a metaphorical discourse on Ba Jin's personal grief'''<br /> <br /> Although Ba Jin is regarded together with Bing Xin as one of the representatives of Republican literature, the more important part of his essayistic work seems to lie after 1949 . Publishing from Hong Kong since 1979, he has spoken out loudly in opposition and in trying to help ease the trauma associated with the 'Cultural Revolution'.<br /> <br /> 1962年初在上海第二届文艺代表大会上的一篇演讲《作家的勇气与责任感》后来有七个引人注目的部分被删减。在这部小说中，巴金对自己和他的同僚进行了严格的评判：在不同的文学运动中，他们会适时地追随政治要求，因此他们是叛徒。巴金批评的第二个对象是审查员和批评家，他们比作家拥有更多的权力，没有合法性。巴金对毛泽东延安文艺讲话的解读是：作家应该自己承担责任。<br /> <br /> '''《小狗包弟》作为一种隐喻讲述了巴金的个人悲痛'''<br /> <br /> 巴金虽然与冰心一起被视为共和文学的代表人物之一，但其散文作品更重要的部分似乎在于1949年以后。自1979以来从香港出版，他大声反对，并试图帮助缓解与“文化大革命”有关的创伤。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:24, 19 December 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> One of this essays is the story-like &quot;''Small Dog Baodi''&quot;. Written in 1980, the author remembers his dog, which he had received two decades ago from a Swedish person and which he loved after a while. When the 'Red Gards' raged, the dog was in danger. Ba Jin describes in detail the fate of the animal and his own resignation, when he learned that he could not protect the dog. In order to save him from a torturous death, he finally submitted the dog in 1966 for medical experiments. Revisiting his garden after the 'Cultural Revolution', he remembers painfully how his wife had played here with the dog. I would like to show six points of interpretation:<br /> <br /> 这篇随笔中有一篇是像故事一样的《小狗宝蒂》。这封信写于1980年，作者回忆起他的狗，这只狗是20年前他从一个瑞典人那里收到的，过了一段时间他就爱上了它。当“红色大革命”流行时，狗处于危险之中。巴金详细描述了这只动物的命运和他自己的辞职，当他得知他不能保护狗。为了把他从痛苦的死亡中拯救出来，他最终在1966年把狗送去做医学实验。“文化大革命”后，他重新回到他的花园，痛苦地回忆起妻子在这里和狗玩耍的情景。我想提出六点解释:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 00:36, 19 December 2020 (UTC)<br /> <br /> 这随笔集中，有一篇故事《小狗包弟》。这篇文章写于1980年，作者怀念他的狗，这只狗是作者二十年前从一个瑞典人手中收到的，过了一段时间作者就爱上了它。当'红卫兵'肆虐的时候，这只狗的处境危险。巴金详细描述了小狗包弟的命运和自己得知无法保护狗时的无可奈何。为了让小狗包弟免于折磨而死，巴金终于在1966年将这只狗送去做医学实验。'文革'后巴金重游自家花园，他痛苦地回忆起妻子在这里与狗玩耍的情景。对这篇文章，我想提出六点解读：--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 06:55, 19 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> 1, The dog is a metaphor. In the beginning Ba Jin seems to report the fate of a dog with relevance only to his owner. But soon it becomes clear that Ba Jin actually mediates to the reader the cruelty of the 'Cultural Revolution'. The reader wonders, &quot;if they did ''this'' with an ''innocent'' dog, what did they do with ''men'', whom they considered ''guilty''?&quot; Ba Jin analogizes himself with the dog, when he sees himself liying on the dissection table. Even Baodi's death is useful, he serves science - could a man be more altruistic?<br /> <br /> 狗是一个隐喻。在故事的开头，巴金看似在说狗的命运只和主人有关。但很快我们就明白了，巴金实际上是在向读者传达“文化大革命”的残酷。读者想知道，“如果他们对一只“无辜”的狗都能这样做，那么他们对那些他们认为“有罪”的“人”又做会怎样做呢?”当巴金看到自己躺在解剖台上时，他把自己比作狗。就连鲍迪的死也是有用的，他是为科学服务的，一个人还能更无私吗?--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 13:53, 16 December 2020 (UTC)<br /> <br /> 狗是个比喻。 一开始，巴金似乎在说狗的命运只跟主人有关。但是很快我们就知道了，巴金实际上是在向读者介表述“文化大革命”的残酷。读者想知道，“如果他们对一只“无辜”的狗“都能如此”，对那些视为“有罪”的“人”又会怎样呢？” 当巴金看到自己躺在解剖台上时，他将自己比作狗。就连鲍迪都死得其所，服务了科学---一个人还能更无私吗？--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 01:52, 17 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> 6 (Zhou 1929:180-181).<br /> <br /> 7 (Zhou 1923).<br /> <br /> 8 (The Family in 1951)<br /> <br /> 9 (1982 Yi pian xuwen).<br /> <br /> 10 (Suixianglu) The essays of the 1980s are more autobiographical, and deal with literature and questions for society nowadays. Due to the very nature of the essay, we can look through his &quot;Random Thoughts&quot; into the soul of Ba Jin..<br /> <br /> 11 (Random Thoughts 1978-86, see Ba Jin 1988).<br /> <br /> 2, Ba Jin expresses the pain of the loss of his wife through the dog. Not before the very end of the essay, Ba Jin mentions his wife in painful remembrance, who became ill and died during those ten years. In the essay &quot;''In Memoriam Xiāo Shān''&quot;, which appeared earlier in the collection, he had confessed severe feelings of guilt regarding her death, what haunted him into his dreams. He claimed, that they had withhold her medical treatment because of him. <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> 3, The essay is an accusation of the 'Cultural Revolution'. The not-mentioning of the 'Cultural Revolution' as the reason for his wife's death makes the pain the more accusatory, especially in front of the comparable unimportant doglife. His terrifying awareness is the powerlessness - he was not able to protect his dog nor his wife. Ba Jin actually wants to illustrate the powerlessness of the individual in front of collective cruelty.<br /> <br /> 本文是对'文革'的控诉。 没有提到“文化大革命”是其妻子去世的原因，这就更让人痛心疾首，尤其是在相对不重要的狗命面前。他可怕的意识是那种无力感-他没有能力保护他的狗和他的妻子。巴金其实是想说明个人在集体的残酷面前的无能为力。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 00:50, 17 December 2020 (UTC)<br /> <br /> 这篇文章是对“文化大革命”的控诉。没有提及“文化大革命”是他妻子死亡的原因，使这种疼痛更具控诉性，尤其是在相对无关紧要的狗的性命面前。他意识到无能为力是多么可怕——他既不能保护他的狗，也不能保护他的妻子。巴金其实是想展示在集体的残酷面前个体的无能为力。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 01:29, 17 December 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> 4, The significance of this way to deal with the 'Cultural Revolution'. If one compares the mentioned essay with others of the year 1979, it lied within the common trend of criticizing the 'Cultural Revolution'. But there were also authors like Bing Xin denied the 'Cultural Revolution' - soon after its end, she used similar titles for her books than before - in order to pretend continuity. Wang Meng worked up the 'Cultural Revolution' in a humoristic way - ''Ba Jin'''s essays stand out of these, because of their relentlessness and confessing character.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> 5, The use of rhetorical means. Ba Jin pretends to be a simple documentarist &quot;I expect from literature [...] that it tells the truth.&quot;. In fact he is known for his direct and accusing truth, sometimes his literary style is critizised as too direct and too less artful (a reproach from Hong Kong students). In &quot;''The Small Dog Baodi''&quot; he is using literary means to create emotion in his readers. He uses composition and rhetoric means like animation. The dog Baodi allegorically shows the injustice and inhumanity of the 'Cultural Revolution'. Here, Ba Jin turns into a narrator who recounts the memories of the 'Cultural Revolution' in ''allegoric'' instead of in descriptive truth as before . He is longing for a ''fictional truth'', instead of the ''truth of being'' in the sense of Thomas Aquinas. The fictional realism Wang Der-wei sees in Lao She, Mao Dun and Shen Congwen, proofs helpful for the understanding of this piece.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> 6, Ba Jin's personal grief is much more persuading in the metaphor of the dog than in his direct accusing essays. As Vera Schwarcz (1996) points out<br /> <br /> &quot;To speak too much of grief is to blunt its edge. It might even make us deaf to the cry that sparked discourse about suffering in the first place. A cold, calculating intelligence cannot grasp the rough contours of grief. [...] To preserve the significance of personal suffering in public life we need a more indirect approach; one that accepts and, indeed, nourishes AMBIGUITY. This, in the words of Cynthia Ozick, is the discrete province of METAPHOR, &quot;the reciprocal agent, the universalizing force that makes it possible to envision the stranger's heart.&quot; [...]<br /> She also mentions that &quot;[...] absence of talk -- or, rather modest use of ''metaphorical discourse'' -- serve us better in the presence of massive grief.&quot;<br /> <br /> 6.巴金的个人悲痛，在狗的隐喻中比他直接指责的文章更有说服力。<br /> <br /> 正如薇拉·施娃茨（Vera Schwarcz）（1996）所指出的那样&quot;过多地谈论悲痛就是钝化它的锋芒。这种行为甚至可能让我们对最开始引发关于讨论痛苦的呐喊充耳不闻。冷酷、斤斤计较的智慧无法把握悲伤的粗糙轮廓。[...]为了保持个人苦难在公共生活中的意义，我们需要一种更间接的方法；一种接受并且实际上滋生模棱两可的方法。用辛西娅·奥齐克（Cynthia Ozick）的话说，这就是隐喻的分立范畴，&quot;相互作用，普遍化的力量，使得我们能够想象陌生人的心。&quot;[...]她还提到，&quot;[....]保持沉默--或者说适度使用“隐喻性话语”--在巨大的悲痛面前更有利于我们&quot;。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 07:05, 19 December 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> To sum up, Ba Jin turns out not to be the self-censorer, who tried to make his literature fit into the communist ideology. Instead he was a lifelong fighter for the freedom of speech and the independancy of literature from politics, who spoke out whenever he had the opportunity without endangering himself. He also no longer appears as the &quot;uneducated&quot; writer of simple truth, as he leads us to believe. Yet he has achieved a high rhethoric of ''fictional truth'' and is able to transmit his personal grief even more persuadingly in a ''metaphorical discourse'' throught the metaphor of the dog Baodi.<br /> <br /> 综上所述，巴金原来并不是一个自我审查者，试图使自己的文学符合共产主义意识形态。相反，他一生都在为言论自由和文学独立于政治而奋斗，只要有机会，他就会大声疾呼，但不会危及自身。他也不再像他引导我们相信的那样，以“不谙世事”的作家形象出现。巴金对虚构事实的修辞手法已经十分高超，能够通过狗宝弟的隐喻，以隐喻性的话语，更有说服力地传递他个人的悲伤。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 06:47, 18 December 2020 (UTC)Zou Xinyu<br /> <br /> 综上所述，巴金并不是一个试图使自己的文学符合共产主义意识形态的自我审查者。相反，他一生都在为言论自由和文学独立于政治而奋斗，只要一有机会，他就会在不危及自己的情况下畅所欲言。他也不再像他引导我们相信的那样，以“没有受过教育的”作家的形象出现。然而，他实现了“虚构真实”的高度流变，通过狗宝弟的隐喻，在“隐喻话语”中更有说服力地表达了个人的悲伤。<br /> --[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 00:41, 19 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=History_of_Translation_Studies_10&diff=115041 2020-12-18T16:42:16Z

<p>Sagara Seydou 3: /* Content */</p> <hr /> <div>这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> *Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> *Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]<br /> *Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].<br /> ='''Functional Equivalence'''=<br /> <br /> <br /> == On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing== (please add your student number and major)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:10, 18 December 2020 (UTC)<br /> <br /> ===Abstract===<br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.<br /> <br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal and functional equivalence, the former of which pursues the equivalence in form and content and the latter of which pursues equivalence in function between the two languages. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:10, 18 December 2020 (UTC)<br /> <br /> ===key words===<br /> <br /> functional equivalence, formal equivalence, translation<br /> <br /> ===摘要===<br /> 翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。<br /> <br /> ===关键字===<br /> 功能对等，形式对等，翻译<br /> <br /> ===Introduction===<br /> <br /> As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. <br /> <br /> Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.<br /> <br /> ===Functional Equivalence===<br /> In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)<br /> <br /> Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. <br /> <br /> To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. <br /> Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.<br /> <br /> ===Formal equivalence===<br /> <br /> Formal equivalence, though seeking equivalence as well, focuses mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） <br /> <br /> Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.<br /> <br /> From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.<br /> <br /> ===Relationship between functional equivalence and formal equivalence===<br /> In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.<br /> <br /> For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.<br /> <br /> Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.<br /> <br /> Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.<br /> <br /> Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.<br /> <br /> ===Application of functional equivalence and functional equivalence in translation===<br /> <br /> Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.<br /> <br /> ====Lexical equivalence====<br /> <br /> Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.<br /> <br /> Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. <br /> <br /> It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. <br /> “When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”<br /> In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.<br /> <br /> ====Syntax equivalence====<br /> <br /> Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: <br /> “Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”<br /> Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。<br /> <br /> We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.<br /> When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. <br /> There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:<br /> “You’re not a student,are you?”<br /> “Yes, I am.” <br /> Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.<br /> <br /> ====Texual equivalence====<br /> <br /> Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. <br /> <br /> Example: “祥子！”她往前凑了凑：“我有啦！” <br /> “有了什么？”他一时蒙住了。<br /> “这个！”她指了指肚子。“你打主意吧！”<br /> Translation: “Xiangzi,” she came closer. “I am in trouble!”<br /> “What trouble?” He was startled.<br /> “This!” She pointed her belly. “What was you going to do about it?”<br /> According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.<br /> <br /> In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner connotation it bears. <br /> Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. <br /> Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.<br /> <br /> The last element we should never ignore is cultural context given that there are great cultural differences between English and Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.<br /> Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.<br /> We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.<br /> <br /> ====Stylistic equivalence====<br /> <br /> Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.<br /> Example: 清明<br /> 杜牧<br /> 清明时节雨纷纷，路上行人欲断魂。<br /> 借问酒家何处有? 牧童遥指杏花村。<br /> Translation by Wu Juntao:<br /> The Pure Brightness Day<br /> By Du Mu<br /> It drizzles thick and fast on the Pure Brightness Day,<br /> I travel with my heart lost in dismay.<br /> “Is there a public house somewhere, cowboy?”<br /> He points at Apricot Village faraway.<br /> <br /> In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..<br /> Translation by Xu Yuanchong:<br /> The Mourning Day<br /> By Du Mu<br /> A drizzling rain falls like tear on the Mourning Day;<br /> The mourner’s heart is going to break on his way.<br /> Where can a wineshop be found to drown his sad hours?<br /> A cowherd points to a cot ’mid apricot flowers. <br /> <br /> In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.<br /> <br /> ===Conclusion===<br /> <br /> Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation. <br /> <br /> Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)<br /> <br /> ===References===<br /> <br /> Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.<br /> <br /> Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.<br /> <br /> Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．<br /> <br /> Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.<br /> <br /> Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.<br /> <br /> Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &quot;Faithfulness, Expressiveness and Elegance&quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.<br /> <br /> Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.<br /> <br /> Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.<br /> <br /> Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.<br /> <br /> Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.<br /> <br /> 尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．<br /> <br /> Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).<br /> <br /> UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．<br /> <br /> == My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==<br /> <br /> == Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==<br /> &lt;center&gt;肖茜 Xiao Xi No.202020080654&lt;/center&gt;<br /> ===Abstract===<br /> Hao Jingfang's science fiction &quot;Folding Beijing&quot; won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu's rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of the theory of Nida's functional equivalence to &quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&quot;. The theory of Nida's functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu's application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.<br /> <br /> ===Key words===<br /> Functional Equivalence; Folding Beijing; meaning; style; culture<br /> <br /> ===题目===<br /> 刘宇昆翻译中的功能对等-以《北京折叠》为例<br /> ===摘要===<br /> 郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。<br /> <br /> ===关键词===<br /> 功能对等；《北京折叠》；意义；风格；文化<br /> <br /> ===Introduction===<br /> In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.<br /> <br /> This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers' understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information.<br /> <br /> Nida's functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.<br /> <br /> ===1. Eugene A. Nida and His Theory of Functional Equivalence===<br /> <br /> Eugene A. Nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work Toward a Science of Translating. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers' response, not just the equivalence of content and form. <br /> <br /> In his book The Theory and Practice of Translation, Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida's dynamic equivalence theory requires that the translation readers' response to the translation should be consistent with that of the original readers. <br /> <br /> Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &quot;The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers did&quot; (Nida 1993:118). <br /> <br /> In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the receptor-language reader's response, (3) the receptor language and culture as a whole. Nida defined the reader's response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader's response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.<br /> <br /> ===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===<br /> <br /> ====2.1 Functional Equivalence from Aspect of Meaning====<br /> <br /> Nida and Taber (2004：12) stated that &quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&quot; Meaning in this chapter will from three levels to discuss: words, sentences and passages, in other words, these three levels is a detailed analysis of the lexicon, syntax and discourse. According to the functional equivalence theory, translation should not only achieve literal equivalence, but also discover the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in the translation of Folding Beijing from lexical, syntactic and discourse perspectives.<br /> <br /> =====2.1.1 Lexical level=====<br /> <br /> In literary translation, how to correctly interpret the meaning of a word or phrase is always a difficult problem. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is most appropriate. In the English translation of Folding Beijing, there are many examples to illustrate how the translation achieves functional equivalence with the source text in the lexical level as follows:<br /> <br /> Example 1:<br /> “食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）<br /> <br /> &quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&quot; (Ken Liu 2015)<br /> <br /> Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &quot;the plastic tables at the food hawker stalls&quot; for readers to understand. &quot;Sour and spicy powder&quot; is originally a kind of Chinese noodles. The author uses &quot;hot and sour rice noodles&quot; to describe the taste of sour and spicy and the raw material of noodles is rice.<br /> <br /> Example 2:<br /> “这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）<br /> <br /> &quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&quot; (Ken Liu 2015)<br /> <br /> The translator uses &quot;a toothpick dangling between his lips&quot; to describe the action of picking teeth，it's more detailed and vivid. “懒散不修边幅” is translated into &quot;lazy and slovenly&quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &quot;the appearance of being perpetually grumpy&quot;, in this way, the translation better expresses the author's intention to express the meaning of looking bad-tempered. <br /> <br /> Example 3:<br /> “霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）<br /> <br /> &quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&quot; (Ken Liu 2015)<br /> <br /> The author did not translate directly “闪烁的小灯” into &quot;the little flashing lights &quot;, but &quot;Tiny flashing LEDs&quot;. This is also because of the translator's own understanding of the text, he wants the readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &quot;lapi&quot;, which is to show the original meaning.<br /> <br /> =====2.1.2 Syntactic Level=====<br /> <br /> Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese. <br /> <br /> The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, conjunctions and relationship between words in English use frequency is very high. Secondly, English speakers put attention on object consciousness and used to the order from a small object to a large one, from specific to general; In Chinese texts, there is usually a temporal, spatial or causal sequence of time sequence. Finally, English language usually emphasizes important information at the beginning of a sentence, while the Chinese language tends to process information from the obsolete to the fresh for the purpose of impressing people.<br /> <br /> In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a proper form. The following are some examples to show that how English translation oh Folding Beijing achieves functional equivalence to the original text in syntactic level: <br /> <br /> Example 1:<br /> “ ‘现在政府太混沌了，做事太慢，僵化，体系也改不动。’他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。’他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’” （Jingfang Hao 2016:15）<br /> &quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&quot; (Ken Liu 2015)<br /> We can see that in the translation of this paragraph, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the readers have supplemented and translated this sentence into &quot;I'll also work to expand the pool of candidates for government service and promotion&quot;, The translator perfectly explains what &quot;放开&quot; means.<br /> <br /> Example 2:<br /> “昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）<br /> <br /> “Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) <br /> <br /> In this passage, the text refers to “过去” twice with emphasis. In order to achieve the same emphasis in the English translation, the author chose to adjust the word order, placing &quot;In the dim lamplight&quot; between the two sentences, rather than using a subordinate clause like &quot;…childhood that…&quot;.<br /> <br /> Example 3:<br /> “再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）<br /> <br /> &quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&quot; (Ken Liu 2015)<br /> <br /> In this passage, we can see clearly that English has many more conjunctions than Chinese, like &quot;as though&quot;, &quot;from where&quot; and &quot;that&quot;, this is because of the difference in syntax between the two languages.<br /> <br /> =====2.1.3 Discourse level=====<br /> <br /> Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &quot;rewrite&quot; to make the translated text acceptable to readers. In literary translation, the translator should pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in the level of discourse. The following part selects a dialogue and its English translation in Folding Beijing as an example of literary translation to achieve functional equivalence in discourse level.<br /> <br /> “所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”<br /> <br /> 老刀没有动筷子。他很饿，可是他觉得这时不能吃。<br /> <br /> “可是这等于我也得撒谎。”<br /> <br /> 依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)<br /> <br /> &quot;And so&quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&quot; <br /> <br /> Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.<br /> <br /> &quot;Then I'd be lying, too,&quot; Lao Dao said.<br /> <br /> Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &quot;Please accept this token of my appreciation.&quot; (Ken Liu 2015)<br /> <br /> The conversational habits in Chinese are different from those in English, so some adjustments are often made when translating. The form of the dialogue is not completely translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”translated into &quot;spooned a serving of the new hot dish&quot;, the translator changed the action to &quot;spoon&quot;, which is more suitable for Yi Yan's identity image, it is more suitable as a girl in the first space to spoon the vegetables to Lao Dao. “推给老刀”translated into &quot;She pushed them across the table toward Lao Dao&quot;, this sentence adds some action to make it more pictorial.<br /> <br /> ====2.2 Functional Equivalence from Aspect of Style====<br /> <br /> Every writer has his own writing style, and no one can imitate it perfectly. That is to say, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows the language characteristics, and the English translation can also see that the translator tries to achieve the functional equivalence on the stylistic level.<br /> <br /> =====2.2.1 Rhetoric=====<br /> <br /> First of all, rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form and is a counterpart of dialectic. The use of rhetoric can create vivid images, vivid scenes, improve the effect of literature.<br /> <br /> Example 1:<br /> 老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)<br /> <br /> &quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&quot; (Ken Liu 2015)<br /> <br /> In this passage, the original text compares a hungry stomach to an abyss, and the English translation also uses this metaphor to form a rhetorical functional equivalence.<br /> <br /> Example 2:<br /> 不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)<br /> &quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&quot; (Ken Liu 2015)<br /> <br /> In this paragraph, it is a metaphor, and the words &quot;西山&quot; and &quot;孤&quot; in the original text are not translated, only translated into &quot;an island in the sea&quot;, this description is enough to show the image of a folded city.<br /> <br /> Example 3:<br /> 高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)<br /> <br /> &quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&quot; (Ken Liu 2015)<br /> <br /> It has a personification in this paragraph, &quot;skyscrapers&quot; have &quot;heads, feet, necks and arms&quot;, and &quot;like the humblest servants&quot;, the use of rhetoric enables people to imagine the folding picture of the city through the human image. By comparing the building to a herd of beasts, it shows its size and the sense of fear and oppression it brings.<br /> <br /> Example 4:<br /> 直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)<br /> <br /> &quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&quot;(Ken Liu 2015)<br /> <br /> In this sentence, although &quot;怪胎&quot; translate into &quot;monster&quot;, the &quot;生&quot;express also the same meaning, so the translator does not struggle.<br /> <br /> =====2.2.2 Dialects=====<br /> <br /> Dialect embodies the local characteristics, is the author's own writing style. Sometimes it's a problem in translation. In the following example, we can see how the translator handles this problem.<br /> <br /> For example, &quot;伙计&quot; in English &quot;waiter&quot; ,&quot;铺盖卷&quot; in English &quot;bedrolls&quot; ,&quot;闺女&quot;is translated as &quot;real daughter&quot; ,&quot;她们认死理儿&quot; is translated as &quot;they don't know how to be flexible&quot;,&quot;只是这么多年过来，人就木了.&quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.<br /> <br /> In short, whether the use of rhetoric or dialect in literature, can fully reflect the author's writing style. Therefore, in literary translation, the translator should study the differences between the source language and the target language in the ways to express stylistic differences, and find out the best way to make up for these differences. In this way, literary translation can achieve maximum functional equivalence at the stylistic level.<br /> <br /> ====2.3 Functional Equivalence from Aspect of Culture====<br /> <br /> In the process of translation, the cultural difference between the two languages is also an issue that translators should pay attention to. People who come into contact with different cultures have different ways of thinking, values and social customs and so on. Translators need to understand the two cultures and fully express the cultural elements contained in the original text. At this time, translation plays a role in cross-cultural communication. The translator must present the cultural meaning shown or implied in the original text to the readers so that the translation can achieve the cultural equivalence with the original text. In this chapter, we will analyze the English translation of Folding Beijing from the perspective of food culture, folk culture and culture of idioms, so as to explain how it achieves the functional equivalence with the original text.<br /> <br /> =====2.3.1 Food Culture=====<br /> <br /> The city described by Beijing Folding is the political and cultural center of China, and it is a city with profound cultural deposits. There are a lot of contents belonging to traditional Chinese food culture in the novel. This part will analyze how the translator translates these delicacies to achieve functional equivalence.<br /> <br /> Example 1:<br /> &quot;…面前摆着一盘炒面或炒粉… &quot;(Jingfang Hao 2016:2)<br /> <br /> &quot;Each kid had a plate of chow mein or chow fun…&quot; (Ken Liu 2015)<br /> <br /> &quot;炒面&quot;is a well-known traditional snack in China. The translator makes it into &quot;chow mein&quot;, rather than &quot;Chinese stir-fried noodles&quot;. In the dictionary, &quot;chow mein&quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also makes it more intuitive for the reader to know what the food is.<br /> <br /> Example 2:<br /> &quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&quot;(Jingfang Hao 2016:32)<br /> <br /> &quot;…over a half bottle of baijiu…&quot; (Ken Liu 2015)<br /> <br /> The foreignizing translation is adopted here, &quot;白酒&quot; is translated into &quot;baijiu&quot; , the translator doesn't use the word like &quot;spirits&quot;, it not only retains Chinese cultural characteristics, but also achieves communicative effect.<br /> <br /> Example 3:<br /> &quot;哎，你们知道那儿一盘回锅肉多少钱吗？&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…how much they charge for an order of twice -cooked pork over there?&quot; (Ken Liu 2015)<br /> <br /> The special feature of this dish is that it is boiled in water and then stir-fried. The translator captures this feature in the translation, trying to make people understand the meaning of &quot;回锅&quot;, and this dish is made with pork, he wants readers of the English translation to see an image of the dish in their heads in the same way that Chinese people do.<br /> <br /> =====2.3.2 Folk Culture=====<br /> <br /> Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.<br /> <br /> Example 1:<br /> &quot;…几个人分吃两个菜…&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…and they shared two dishes family-style.&quot; (Ken Liu 2015)<br /> <br /> &quot;分吃&quot; is the most common way of eating in traditional Chinese culture, where several dishes are shared among friends and family. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he use the word &quot;shared&quot; and he add the word &quot;family-style&quot; to make it easier for the reader to understand the behavior. <br /> <br /> Example 2:<br /> &quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&quot;(Jingfang Hao 2016:27)<br /> <br /> &quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&quot; (Ken Liu 2015)<br /> <br /> The culture of hometown is a major feature of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &quot;老乡&quot; from a geographical perspective. &quot;管事儿&quot;means to have some authority. The translator also explains this word so that readers can understand it easily.<br /> <br /> Example 2:<br /> &quot;一点心意，你收下。&quot; (Jingfang Hao 2016:23)<br /> <br /> &quot;Please accept this token of my appreciation.&quot;(Ken Liu 2015)<br /> <br /> In this passage, Yi Yan said that she hoped Lao Dao could help her keep a secret, so she wanted to give Lao Dao with money. &quot;心意&quot; means money, which is a euphemism used in China when it is inconvenient to offer money directly. In the translation, the translator also considered a euphemistic way of expression, so he used the word &quot;appreciation&quot;.<br /> <br /> =====2.3.3 Culture of Idioms=====<br /> <br /> Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.<br /> <br /> The author used many idioms in the article, such as &quot;饿虎扑食&quot;, the translator translated it into &quot;ate heartily&quot;, although the translation is easy to understand, but without the image that people are very hungry to eat, from the perspective of functional equivalence, English readers seem to be unable to reach the same level of understanding and response as Chinese readers.<br /> <br /> And &quot;（盘子）一片狼藉&quot;translated into &quot;The dishes were a mess&quot;, it is a brief description of the mess. And &quot;成人之美&quot; translated into &quot;in that case I'll have done a good deed by keeping silent&quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he was keeping secrets and that Yi Yan and Qin Tian might get together in the future. The translator abstractly translated the sentence in the English translation.<br /> <br /> ===Conclusion===<br /> <br /> From the analysis of the English translation of Folding Beijing from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of Folding Beijing to the English reader.<br /> <br /> Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is essentially the same as that of the source language readers, so the target language can be regarded as a functional equivalence translation. Analyzed from three aspects: meaning, style and culture &quot;Beijing fold&quot; English version, you can see on the language, while Chinese and English in logic and grammar are greatly different, there exist many differences in the Chinese culture and western culture, but the translator still tries his best to keep the content of the original text in the translation and find more appropriate words.<br /> <br /> In terms of some specific content, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction, which is of great value.<br /> <br /> ===References===<br /> <br /> [1] Hao Jingfang. Folding Beijing [J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy, 2015.<br /> <br /> [2] Nida, Eugene A. Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press,1993<br /> <br /> [3] Nida, Eugene A. Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001<br /> <br /> [4] Nida, Eugene A. &amp; Taber, Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2004<br /> <br /> [5] 郝景芳.孤独深处[M].南京：江苏凤凰文艺出版社，2016：1-40<br /> <br /> [6] 谭载喜.新编奈达论翻译[M].北京：中国对外翻译出版公司，1999<br /> <br /> [7] 许钧，穆雷.翻译学概论[M].南京：译林出版社，2009<br /> <br /> [8] 赵丹丹.浅论奈达的功能对等理论[J].文学教育，2011<br /> <br /> [9] 周兴阳.从功能对等理论视角看《北京折叠》英译本研究[J].新疆大学，2018<br /> <br /> [10] 王桂圆.系统功能语言学视角下《北京折叠》英译研究[J].海外英语，2018<br /> <br /> ==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==<br /> &lt;center&gt;余妮 Yu Ni No.202070080620&lt;/center&gt;<br /> ===Abtract===<br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. <br /> <br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s version has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===Key Words===<br /> Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong<br /> ===题目 ===<br /> 功能对等理论下余光中译《不可儿戏》分析<br /> ===摘要===<br /> The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。<br /> ===关键词===<br /> 功能对等；《不可儿戏》；余光中<br /> ===Introduction===<br /> “The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. <br /> <br /> “The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.<br /> <br /> The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) which was co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable, for it has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. With the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The following chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author makes a conclusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===An Introduction of Functional equivalence===<br /> ====The Definition of Functional Equivalence====<br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.<br /> <br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, according to the nature of translation. He pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).<br /> <br /> The equivalence in “dynamic equivalence” includes four aspects—lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, we should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural reaction of the source language in the target language(Guo Jianzhong, 2000).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Three Steps of Translation====<br /> Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.<br /> <br /> Firstly, we should create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully displays the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?<br /> <br /> Secondly, if meaning and culture concepts cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost not much snow in southern China all year round. Therefore, based on their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)<br /> <br /> In the translation, translators can eliminate cultural differences by changing the form of vocabularies. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and the image of “雨后春笋”. (Guo Jianzhong, 2000)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.<br /> <br /> Thirdly, if the change of form is not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Re-creation” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===''The Importance of Being Earnest'' and Its Chinese Versions===<br /> ====An Introduction of Oscar Wilde and His Works====<br /> Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).<br /> <br /> Oscar Wilde, born in Dublin, Ireland, is a “born for art” writer. He was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.<br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In this play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)<br /> <br /> Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies, revealing the hypocritical ethical concepts in Victorian era.(Wilde, 2009)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)<br /> <br /> Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Chinese Versions of The Importance of Being Earnest====<br /> =====An Overview of Its Chinese Versions =====<br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).<br /> <br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).<br /> <br /> Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared to previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).<br /> <br /> Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).<br /> <br /> From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Yu Guangzhong and His Chinese Version=====<br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). <br /> <br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections. Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.<br /> <br /> He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was first published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers but also for Chinese audiences and actors. Therefore, his translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===The Application of Functional Equivalence to Yu Guangzhong’s Version===<br /> ====Translation Strategies of Yu Guangzhong’s Version==== <br /> =====Translation of the Drama Title=====<br /> So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).<br /> <br /> So far, there are three famous versions of The Importance of Being Earnest—Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> “Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. <br /> <br /> “Functional equivalence emphasizes translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).<br /> <br /> Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Translation of Characters’ Names=====<br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.<br /> <br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but in different meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.<br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)<br /> <br /> It not only facilitated the needs of the audience but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience would be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.<br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. <br /> <br /> Yu Guangzhong translated “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. <br /> <br /> In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language remain the same.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.<br /> <br /> Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.<br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Translation of Characters’ Dialogues=====<br /> “There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.<br /> <br /> “There are many allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ======Alliteration======<br /> &quot;Many English allusions and idioms are used in Wilde’s plays&quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.<br /> <br /> (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.<br /> <br /> (1) ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.<br /> <br /> In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. <br /> <br /> (2) CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack. Here, “bitter” and “blessings” employed alliteration devices.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. <br /> <br /> Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can still benefit from them. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’ s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).<br /> <br /> An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting <br /> <br /> <br /> ======Paradox======<br /> (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor <br /> husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)<br /> 巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)<br /> Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). <br /> <br /> Paradox is a device favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed. Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.<br /> <br /> <br /> (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?<br /> CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for <br /> publication. (Wilde, 2009)<br /> 亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?<br /> 西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)<br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. <br /> <br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect. In example 4, what amused the audience was the conclusion contrary to the reasons.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)<br /> <br /> Yu Guangzhong added a Chinese conjunction “所以”. With it, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the readers will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ======Antithesis======<br /> <br /> (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)<br /> 亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)<br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. <br /> <br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators. Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty. Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).<br /> <br /> As a matter of fact, the target language seemed to be better than the source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)<br /> 劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)<br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.<br /> <br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in the target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Suggestions on Translation from Yu Guangzhong’s Version====<br /> Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.<br /> <br /> Through the analyses of Yu Guangzhong’s version, we may have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is the most popular one among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).<br /> <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is the variety of rhetorical devices. In the process of translation, Yu Guangzhong grasped this point. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). <br /> <br /> The second translation strategy is that the form can be changed properly but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning. The beauty of the original will be destroyed, too. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).<br /> <br /> For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===Conclusion===<br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). <br /> <br /> <br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we can have a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”. In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting<br /> <br /> One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.<br /> <br /> One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed but the meaning and satirical effect cannot be reduced. With these strategies, we can produce better translation. Even though we can gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===References===<br /> Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.<br /> <br /> Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.<br /> <br /> Eugene A. Nida &amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.<br /> <br /> Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.<br /> <br /> Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.<br /> <br /> Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.<br /> <br /> Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.<br /> <br /> Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.<br /> <br /> Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.<br /> <br /> Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.<br /> <br /> Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.<br /> <br /> Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.<br /> <br /> Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.<br /> <br /> Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.<br /> <br /> Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.<br /> <br /> Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.<br /> <br /> Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.<br /> <br /> Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> =Applicaton of Translation Theories=<br /> ==Study of Application of Interpretive Theory in Interpretation 韩宛真 Han Wanzhen 202020080603== <br /> <br /> ===Abstract===<br /> With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. <br /> <br /> With the development of economic globalization,exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand.The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice. Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:58, 16 December 2020 (UTC)<br /> <br /> ===Key words===<br /> interpretive theory; interpretation,; translation strategies<br /> <br /> ===题目===<br /> 释意理论指导下的口译<br /> <br /> ===摘要===<br /> 随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。<br /> <br /> ===关键词===<br /> 释意理论；口译；翻译策略<br /> <br /> ===1.Introduction===<br /> In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.<br /> <br /> ===1.1 Introduction of Interpretive Theory===<br /> The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. <br /> <br /> The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)<br /> <br /> The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &quot;meaning&quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.(Kong Shaohui 2009, 127)<br /> <br /> The first is the implied meaning(implictit), which means that the speaker actually wants to experess the meaning: the second is explicit, which the speaker actually says content.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &quot;implied meaning&quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. <br /> <br /> Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.<br /> <br /> The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can<br /> understand:The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &quot;thought that has not been expressed in words&quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.<br /> <br /> understanding: the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and though contend to be expressed, this stage is called interpretation of discourse. --[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &quot;de-verbalization&quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.<br /> <br /> The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.<br /> <br /> In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)<br /> <br /> ===1.2 Introduction of Interpretation===<br /> Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.<br /> Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.<br /> <br /> There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &quot;lightning thinking&quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &quot;simultaneous interpretation&quot; is almost impossible). (Ouyang Changyi 2010)<br /> <br /> Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &quot;simultaneous interpretation is a half-expert in any field.&quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)<br /> <br /> ===2. Literary Review===<br /> No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.<br /> <br /> ===2.1 The Research on Interpretive Theory===<br /> Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.<br /> <br /> The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &quot;interpretive&quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. <br /> <br /> At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. <br /> <br /> Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.<br /> <br /> It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.<br /> <br /> ===2.2 The Research on Interpretation under the Guide of Interpretive Theory===<br /> <br /> Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. <br /> <br /> With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.<br /> <br /> First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &quot;One Belt One Road&quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &quot;Black Technology&quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.<br /> <br /> On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.<br /> The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.<br /> <br /> ===3.Translation Strategies based on Interpretive Theory===<br /> Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.<br /> <br /> Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> ===3.1 Free Translation===<br /> <br /> The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。<br /> Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.<br /> &quot;而立之年&quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.<br /> 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。<br /> Translation: FOCAC is a valuable asset for China and Africa.<br /> &quot;金字招牌&quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.<br /> <br /> ===3.2 Addition of Message===<br /> <br /> Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。<br /> Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.<br /> In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.<br /> 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。<br /> Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.<br /> From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.<br /> <br /> ===3.3 Positive and Negative Translation===<br /> <br /> As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:<br /> 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。<br /> Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.<br /> The sentences in the source text are all expressed by the negative &quot;cannot&quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.<br /> 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。<br /> Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.<br /> The source text is a negative sentence containing the negative “cannot&quot; when translated into English. The translator is telling the truth, the translation is &quot;at least&quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.<br /> <br /> ===Conclusion===<br /> <br /> In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.<br /> <br /> The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. <br /> <br /> Translators should use translation strategies flexibly.The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)<br /> <br /> The interpretive theory is the hypothesis of &quot;beyond the shell of the source language&quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &quot;out of&quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)<br /> <br /> In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &quot;departure from the source language&quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&quot;(Lederer 2001, 45-50)<br /> <br /> In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> ===References===<br /> *Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &quot;Interpretive theory.&quot;: 1. <br /> <br /> *Dougherty, Ray C. (1969). &quot;An interpretive theory of pronominal reference.&quot; Foundations of Language: 488-519.<br /> <br /> *Gong Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.<br /> <br /> *Jackendoff, Ray S. (1969). &quot;An interpretive theory of negation.&quot; Foundations of language: 218-241.<br /> <br /> *Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.<br /> <br /> *Lederer Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.<br /> <br /> *Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.<br /> <br /> * Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. 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(2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.<br /> <br /> *Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.<br /> <br /> ='''Theory and Practise'''=<br /> <br /> <br /> ==The Development of Translation in Chinese Buddhist Scriptures 陈佳欣 Chen Jiaxin 202020080593==<br /> <br /> ===Abstract===<br /> The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.<br /> <br /> ===Keywords ===<br /> Buddhist scriptures, Translation, Literal translation, Free translation<br /> <br /> ===摘要===<br /> 佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。<br /> <br /> ===关键词===<br /> 佛经，翻译，直译，意译<br /> <br /> ===Introduction===<br /> Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time. About the first century AD Buddhism entered China along trade routes from Central Asia. Thus, the translation of Buddhist scriptures came into being. Buddhism was widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.<br /> <br /> During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the form similarity and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. “The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation” (Sun Shanshan 2014, 174).<br /> <br /> In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three period. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposed that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposed to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang held that translation “must be truthful and intelligible to the populace”.<br /> <br /> === The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===<br /> The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.<br /> <br /> ==== An Shigao ====<br /> An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He totally translated 35 Buddhist Scriptures, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).<br /> <br /> ==== Zhi Chen ====<br /> Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. <br /> <br /> ==== Zhi Qian ====<br /> Zhi Qian, also known as Zhi Yue, is a Buddhist scripture translator during the Three Kingdoms period. He is the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignore the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. <br /> <br /> (2)The mainstream translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures. On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore then can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.<br /> <br /> (3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.<br /> <br /> === the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===<br /> The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.<br /> <br /> ====Shi Daoan ====<br /> Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he is also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. <br /> <br /> “‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&quot;Three Difficulties in Translation&quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.<br /> <br /> The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.<br /> <br /> ==== Kumarajiva ====<br /> Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &quot; the first class master of translation&quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He is one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translates 39 volumes. He is proficient in both Chinese and Sanskrit languages, and advocates that as long as the translation does not violate the original meaning, there is no need to follow the original form. “Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &quot;geyi&quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992, 186). He argued that “geyi” is the culprit of the deformation of India Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25). <br /> <br /> Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness. Another remarkable achievement is his contribution to the translation workshop. After he arrived Chang'an, he began to organize translation workshops. Under his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).<br /> <br /> (2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads）are usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China，translators can take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there are more Sanskrit texts, they have more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.<br /> <br /> (3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.<br /> <br /> (4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).<br /> <br /> === Tang Dynasty ===<br /> The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously. In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age is Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.<br /> <br /> ==== Xuang Zang ====<br /> Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &quot; Sanzang Rabbi.&quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses, the number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).<br /> <br /> In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &quot;Doroni&quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &quot;bhaga&quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &quot;jumbu tree&quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &quot;Aunt Bodhi&quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &quot;prajna&quot; respect, &quot;wisdom&quot; is light and shallow. “The word &quot;Untranslatable&quot; here does not mean not translating, but rather &quot;not intended to translate&quot;, using transliteration”( Jian Xue 2018, 28).<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translators are mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also has a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who are proficient in Sanskrit has gradually increased, and the translation work does not need to turn to foreign monks.<br /> <br /> (2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation programs possible.<br /> <br /> (3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty is more all-sided in organization. “According to records, The translation workshop of the Tang Dynasty has as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them are rabbis appointed by the court.<br /> <br /> (4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.<br /> <br /> (5) The translation scripts are more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believes that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.<br /> <br /> === The Influence of the Translation of Buddhist Scriptures ===<br /> The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> The influence of Buddhist scripture translation on Chinese is mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.<br /> <br /> “In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&quot;, &quot;Sutra” etc; some are words that we don’t realize, such as &quot;memory&quot;, &quot;world&quot;, &quot;now&quot;, &quot;causality&quot;, &quot;attachment&quot;, &quot;emptiness&quot;, &quot;reality&quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).<br /> <br /> The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to be the main motive.<br /> <br /> In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.<br /> <br /> === Conclusion ===<br /> The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.<br /> <br /> The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.<br /> The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation<br /> <br /> === References ===<br /> Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223<br /> <br /> Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308<br /> <br /> Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.<br /> <br /> Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University <br /> <br /> Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.<br /> <br /> Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.<br /> <br /> Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. <br /> <br /> Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press<br /> <br /> Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &quot;Five Losses of Source Texts and Three Difficulties in Translation&quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.<br /> <br /> WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.<br /> <br /> Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.<br /> <br /> Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.<br /> <br /> He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.<br /> <br /> Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.<br /> <br /> Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.<br /> <br /> Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.<br /> <br /> ==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts'' 成于思 Cheng Yusi 202020080598 比较文学与跨文化研究==<br /> <br /> ==='''Abstract'''===<br /> André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the paper is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the paper will make a comparison of these two books to deepen readers' understanding of them.<br /> <br /> ===Key words===<br /> André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative Study of Chinese and Western Translation Principles'', “cultural turn”, John Dryden, translation principles<br /> <br /> ===题目===<br /> 《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析<br /> <br /> ===摘要===<br /> 安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。<br /> <br /> ===关键词===<br /> 安德烈·勒菲弗尔,《翻译，历史和文化论集》，刘宓庆，《中西翻译思想对比研究》，文化转向，约翰·德莱登，翻译原则<br /> <br /> ===1.Introduction===<br /> This paper presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, this paper is intended to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This paper will be divided into three parts.<br /> <br /> In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden compares a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.<br /> <br /> In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden's comparison of the translator and slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of Western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:56, 18 December 2020 (UTC)<br /> <br /> In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72) Finally, the author will show some scholars’ appraisals of this book.<br /> <br /> In part three, it intends to give a brief comparison of these two books in contents and forms.<br /> <br /> All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.<br /> <br /> ===2. Analysis of ''Translation, History and Culture: A Sourcebook''===<br /> <br /> ''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&quot;(Munday 2016,199) As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &quot;cultural turn&quot; of translation proposed by Translation Studies. <br /> <br /> In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &quot;a rewriting of an original text&quot;. Here, they explained that &quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&quot; (Lefevre 2003, xi) According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. <br /> <br /> In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii) <br /> <br /> Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &quot;cultural turn&quot;. The &quot;cultural turn&quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &quot;cultural turn&quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)<br /> <br /> If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &quot;cultural turn&quot;, Translation, History and Culture: A Sourcebook, with abundant case studies, is proved to be a good illustration of their thoughts. <br /> <br /> If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &quot;cultural turn&quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)<br /> <br /> The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. <br /> <br /> I enjoy reading this book because it brings us and those aloof and remarkable scholars more closer. After reading their original words, they seem to appear fresh before our eyes and narrate their feelings of being translators to us themselves. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&quot;. (Lefevere 2003, 47) <br /> <br /> In this part, I will analyze John Dryden's three types of translation and his comparison of &quot;author and translator&quot; to &quot;master and slave&quot; through the excerpts collected in Translation, History and Culture: A Sourcebook. (Lefevere 2003, 24;102-105)<br /> <br /> Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2) The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &quot;author and translator&quot; to &quot;master and slave&quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii) Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.<br /> <br /> Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102)<br /> <br /> In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102) <br /> <br /> Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating the poem in such a way is like &quot;dancing on ropes with fettered legs&quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)<br /> <br /> Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&quot;.(Lefevere 2003, 103) <br /> <br /> As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103)<br /> <br /> Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. &quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&quot;.(Lefevere 2003, 104)<br /> <br /> It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &quot;he may stretch his chain to such a latitude&quot;.(Lefevere 2003, 105) In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. <br /> <br /> Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)<br /> <br /> However, in Chapter Two, in &quot;Dedication&quot; to his translation of the Aeneid, Dryden argued that &quot;We are bound to our author's sense, though with the latitudes already mentioned&quot;.(Lefevere 2003, 24). He compared a translator to a slave and drudged to express his views on the role of translators. &quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&quot; (Lefevere 2003, 24)<br /> <br /> Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies. (Niu Yunping, 2014) <br /> <br /> Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars such as Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014) --[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &quot;classical writers&quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)<br /> <br /> A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &quot;classical writers&quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73) <br /> <br /> About the value of this book, Translation, History and Culture: A Sourcebook is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)<br /> <br /> About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:36, 18 December 2020 (UTC)<br /> <br /> ===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===<br /> <br /> In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &quot;Sixiang&quot; (&quot;thought&quot; in Chinese) refers to &quot;principle&quot; in the West in this book. (Liu Miqing 2005, 2) <br /> <br /> In the FAQ passage, the author explained why he wrote this book. &quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&quot;(Liu Miqing 2005, i) It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. <br /> <br /> Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)<br /> <br /> The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30) The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33) <br /> <br /> He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43)<br /> <br /> The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39)<br /> <br /> Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150)<br /> <br /> Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &quot;emphasis on meaning&quot; and establish a new concept of &quot;emphasis on the meaning in communication&quot; (Liu Miqing 2005,179) <br /> <br /> The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288)<br /> <br /> However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)<br /> <br /> However, he also recognized that the 1960s to 1970s has witnessed great progress in Western translation theory. Liu divides Western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the forms and the effects of communication, the functions of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> Finally, Liu points out that western translation theory is &quot;technology-oriented&quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)<br /> <br /> Finally, Liu points out that Western translation theory is &quot;technology-oriented&quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the superficial, assertive and rational current views and remarks on theory; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &quot;translation and language game&quot;, Liu puts forward that &quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402)<br /> <br /> Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i) This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44)<br /> <br /> Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflects the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)<br /> <br /> Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread throughtout China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflect the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &quot;all is vanity&quot;, &quot;being detached from worldly affairs&quot; and &quot;obedience&quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987) <br /> <br /> In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still touched by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)<br /> <br /> In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still struck by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features change from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but cleared the way to economic growth as well. Meanwhile, integrated translation paved the way for European integration. (Liu Miqing 2005, 101) <br /> <br /> As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the Western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but also cleared the way to economic growth as well. Meanwhile, integrated translation has paved the way for European integration. (Liu Miqing 2005, 101) --[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> The second characteristic of the tradition of Chinese translation is &quot;regulation to perfection&quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51) <br /> <br /> The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101) Moreover, Western translation principles give priority to &quot;Communicative Translation&quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104)<br /> <br /> The third characteristic is &quot;the focus on meaning as well as aesthesis&quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52)<br /> <br /> Wang Guowei pointed out that the word &quot;Nao&quot; in the verse &quot;Hong Xing Zhi Tou Chun Yi Nao&quot; conveys the Jingjie of the whole poem. (Wang Guowei 2017,15) Therefore, if one attempts to translate the poem, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility. It expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)<br /> <br /> Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006)<br /> <br /> Lu Wei and Li Defeng shed light on the topic &quot;translation theories with Chinese characteristics&quot; and argued that Liu Miqing's A Comparative Study of Chinese and Western Translation Principles provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)<br /> <br /> Lu Wei and Li Defeng shed light on the topic &quot;translation theories with Chinese characteristics&quot; and argued that Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'' provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> ===4. Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===<br /> <br /> ===4.1 From the aspect of the content===<br /> Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. <br /> <br /> Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracts other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)<br /> <br /> ===4.2 From the aspect of the arrangement===<br /> Both of these two books are arranged in theme, rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. The longer essays are collected in the last chapter. Liu arranges his book differently.<br /> <br /> Both of the two books are arranged in a theme way rather than a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation plays in education, and the translating technique. Liu arranges his book differently for the longer essays are collected in the last chapter.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:07, 18 December 2020 (UTC)<br /> <br /> Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', including the characteristics, origins, schools and limitations of Chinese and western translation, Liu not only quotes other’s statement, he applies many tables to demonstrate his thoughts, which helps the readers better understand translation principles.<br /> <br /> Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', which includes the characteristics, origins, schools and limitations of Chinese and Western translation, Liu not only quotes other’s statement, he also applies many tables to demonstrate his thoughts, which help the readers to better understand the translation principles.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:26, 18 December 2020 (UTC)<br /> <br /> ===Conclusion===<br /> In conclusion, the paper is intended to help readers to understand these two books in depth. After a brief introduction of these two books, it analyzes John Dryden’s three types of translation and his comparison of translator to slave and figures out the reason for the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learns translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.<br /> <br /> In conclusion, the paper intends to help readers to have a profound understanding of the two books. After a brief introduction of these two books, there follows the analysis of John Dryden’s three types of translation and his comparison of translator to slave as well as the figuring out of the reason of the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learn translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:37, 18 December 2020 (UTC)<br /> <br /> ===References===<br /> André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp; Francis e-library.<br /> <br /> André Lefevere &amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;New York: Pinter Publishers.<br /> <br /> Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.<br /> <br /> Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.<br /> <br /> Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp; Francis Group.<br /> <br /> Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp; Publishing Corporation中国对外翻译出版公司.<br /> <br /> Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp; Technology Translators Journal 23(02):11-14+29.<br /> <br /> Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.<br /> <br /> Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.<br /> <br /> Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.<br /> <br /> Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> ==The development and future trend of translation Theory 张慧 Zhang Hui 202070080622 英语笔译==<br /> <br /> ===Abstract===<br /> This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.<br /> ===Key Words===<br /> Chinese and Western, translation theory, development, trend<br /> ===摘要===<br /> 本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。<br /> ===关键词===<br /> 中西方，翻译理论，发展，趋势<br /> ===Introuction===<br /> Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.<br /> <br /> Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)<br /> ===The Four Periods of Development of Chinese Translation Theory===<br /> <br /> Ancient Translation Period<br /> <br /> The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）<br /> <br /> Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &quot;seeking the truth&quot; and &quot;using the vulgar&quot; in the translation process. He also established the principle of &quot;five not to turn,&quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）（quotation missing）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> Translation of the Late Qing Dynasty and Early Republic of China<br /> <br /> A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）<br /> <br /> Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）<br /> <br /> Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）<br /> <br /> His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）（paragraph too long）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.<br /> <br /> Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: <br /> <br /> (1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.<br /> <br /> Translation Theory in the Republic of China<br /> <br /> Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &quot;shenyun translation&quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）<br /> <br /> Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）<br /> <br /> After the Founding of the People’s Republic of China<br /> <br /> The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）<br /> <br /> Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）<br /> ===Prospects for the Development of Contemporary Chinese Translation Theory===<br /> <br /> Emphasis on the study of basic translation theory <br /> <br /> Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> “Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). <br /> <br /> In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). <br /> <br /> Innovation of ontology<br /> <br /> Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) <br /> <br /> Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> ===The Historical Development of Western Translation Theory and Its Classification===<br /> <br /> Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. <br /> <br /> The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)<br /> <br /> <br /> The School of Thought and the Main Characteristics of Western Translation Theory<br /> <br /> Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.<br /> <br /> Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. <br /> <br /> The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. <br /> <br /> These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. <br /> <br /> Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. <br /> <br /> Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. <br /> <br /> The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)<br /> <br /> The Response of Western Translation Theory in China’s Translation Industry<br /> <br /> As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. <br /> <br /> Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)<br /> <br /> ===Analysis of Theoretical Research Status===<br /> <br /> Descriptive Analysis of Translation Theory Research<br /> <br /> First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)<br /> <br /> Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.<br /> Third, researchers and institutions. <br /> <br /> The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)<br /> Systematic Analysis of Translation Theory Research<br /> <br /> First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.<br /> <br /> Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.<br /> <br /> Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.<br /> <br /> Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. <br /> <br /> Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. <br /> <br /> This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.<br /> <br /> Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).<br /> <br /> The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. <br /> <br /> The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.<br /> <br /> ===Trends in Translation Theory Research===<br /> <br /> Interdisciplinary cooperation and integration<br /> <br /> Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. <br /> <br /> In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）<br /> <br /> Return to culture development<br /> <br /> The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.<br /> <br /> Seeking Common Ground while Surviving Differences in Cultural Translation<br /> <br /> Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）<br /> <br /> ===Conclusion===<br /> <br /> From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.<br /> <br /> ===References===<br /> <br /> [1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.<br /> <br /> [2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.<br /> <br /> [3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.<br /> <br /> [4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.<br /> <br /> [5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.<br /> <br /> [6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.<br /> <br /> [7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.<br /> <br /> [8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.<br /> <br /> [9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.<br /> <br /> [10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.<br /> <br /> [11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.<br /> <br /> ==A Cultural Critique of Foreignization and Domestication 吴子佳 Wu Zijia 202070080645==<br /> <br /> 吴子佳 Wu Zijia 202070080645<br /> <br /> ==='''Abstract'''===<br /> Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.<br /> <br /> ==='''Key words'''===<br /> <br /> Domestication foreignization cultural-overloaded words cross-cultural communication.<br /> <br /> ==='''摘要'''===<br /> <br /> 归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。<br /> <br /> ==='''关键词'''===<br /> <br /> 归化，异化，文化负载词，跨文化交流<br /> <br /> <br /> ===''' Introduction of Domestication and Foreignization '''===<br /> <br /> Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）<br /> <br /> On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.<br /> Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）<br /> <br /> For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku）<br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞” cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku）<br /> <br /> ==='''Analysis on Culture Differences in Translation'''===<br /> <br /> Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. <br /> <br /> Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）<br /> <br /> So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &quot;dog&quot; is mostly unpleasant, so the metaphor of &quot;dog&quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）<br /> <br /> On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &quot;dog&quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）<br /> <br /> Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &quot;rice&quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &quot;bread and butter,&quot; &quot;big potato&quot;,”hot potato” and &quot;couch potato.&quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）<br /> <br /> ===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===<br /> <br /> 1. Practice of foreignization and domestication in tourism culture<br /> <br /> The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)<br /> <br /> Example 1:<br /> <br /> 路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字<br /> To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))<br /> Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> Example 2<br /> <br /> 云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。<br /> Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.<br /> Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> <br /> Example 3<br /> <br /> 花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)<br /> 孤山: Gushan (Solitary Hill) <br /> 湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。<br /> Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”<br /> Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> <br /> Example 4 <br /> <br /> Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> Example 5<br /> <br /> 她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。<br /> It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.<br /> The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> Example 6<br /> <br /> 四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。<br /> Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. <br /> By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> 2. Practice of Foreignization and Domestication in Food Culture<br /> <br /> With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）<br /> <br /> For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）<br /> <br /> Example 7<br /> <br /> 番茄牛腩(tomato and beef brisket)<br /> This translation consists of main ingredient and ingredient.<br /> 砂锅面(casserole noodles)<br /> This translation consists of utensils and ingredients.<br /> 淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)<br /> This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.<br /> 炒酸菜, 手抓饼(sauerkraut, shredded cake)<br /> This translation consists of the cooking method or eating method and ingredients.<br /> Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）<br /> <br /> Example 8<br /> <br /> 蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)<br /> This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.<br /> 霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)<br /> This translation is named after historical allusions.<br /> 驴打滚 (打糕) :Donkey roll (beating cake)<br /> This translation is named according to the production process metaphor. <br /> 佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).<br /> This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）<br /> <br /> Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.<br /> <br /> Example 9<br /> <br /> “叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &quot;Baked Chicken&quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)<br /> <br /> <br /> If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)<br /> <br /> Example 10<br /> <br /> Some foods are usually translated in the form of &quot;Hanyu Pinyin + English notes&quot; in order to retain certain characteristics.<br /> For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）<br /> <br /> For example, &quot;豆腐&quot; translates as &quot;Toufu&quot;; &quot;馄饨&quot; translates as &quot;Wonton&quot;. The translation of四一丸子:&quot;Four Happy Meatballs&quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）<br /> <br /> 3. Practice of Foreignization and Domestication in Diplomacy<br /> <br /> Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）<br /> <br /> Example 11<br /> <br /> 我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。<br /> What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.<br /> In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）<br /> <br /> Example 12<br /> <br /> “投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）<br /> To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.<br /> This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）<br /> <br /> Example 13<br /> <br /> 耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）<br /> &quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.<br /> This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）<br /> <br /> Example 14<br /> <br /> “滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）<br /> <br /> &quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.<br /> This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）<br /> <br /> Example 15<br /> <br /> 我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）<br /> <br /> If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&quot;稻草、吸管&quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）<br /> <br /> ===''' Conclusion '''===<br /> <br /> Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.<br /> <br /> ===''' References '''===<br /> <br /> * Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.<br /> * Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.<br /> * Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.<br /> * Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.<br /> * Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.<br /> * Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.<br /> * Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.<br /> * Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.<br /> <br /> ='''Contemporary Translation Studies'''=<br /> <br /> <br /> ==A Study On the Influence of Linguistics on the Construction of Translatology 孔祥慧 Kong Xianghui 202020080608==<br /> &lt;center&gt;孔祥慧 Kong Xianghui &lt;/center&gt;<br /> ==='''Abstract'''===<br /> Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .<br /> <br /> ==='''Key words'''===<br /> Translatology;Linguistic;Discipline Construction<br /> <br /> ===摘要===<br /> 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。<br /> <br /> ===关键词===<br /> 翻译学；语言学；学科构建<br /> <br /> ==='''1.Introduction'''===<br /> Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）<br /> <br /> For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）<br /> <br /> This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.<br /> <br /> ==='''2.Literature review '''===<br /> This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. <br /> <br /> '''2.1Studies on the construction of translatology aboard'''<br /> <br /> In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)<br /> <br /> Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.(Eugene Nida, 1947)<br /> <br /> J.C. Catford in his book ''A Linguistic Theory of Translation'' (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.(J.A Catford , 1965)<br /> <br /> Holmes published ''The Name and Nature of Translation Studies'' at The Third International Conference on Applied Linguistics in 1972, which was &quot;widely regarded as the founding declaration of the discipline of translation studies&quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.( James Holmes,1975)<br /> <br /> In 1982, Wolfram Wilss published ''the Science of Translation: Problems and Methods'', clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.(Wolfram Wilss, 1982)<br /> <br /> Newmark is also a representative figure in the field of translation. In his book ''Exploration of Translation'' (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.( Peter Newmark, 1981)<br /> <br /> Hatim &amp; Mason, whose representative work is ''Discourse and the Translator'' (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.(Hatim &amp; Mason,1990 )<br /> <br /> Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.(Christiane Nord, 1997)<br /> <br /> Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published ''Translation and Conflict'': A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.(Mona Baker, 2006)<br /> <br /> '''2.2 Studies on the construction of translatology at home'''<br /> <br /> In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology in China made great progress. （Tan Zaixi，1989）<br /> <br /> In 1951, Dong Qius, a famous Chinese translator, published his article ''On the Construction of Translation Theory''. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.(Dong Qiusi, 1951)<br /> <br /> In 1987, Tan Zaixi clearly put forward the view that &quot;translation studies are an independent subject&quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)<br /> <br /> In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published ''On Approaches to Translation Studies''. In this paper, Tan mainly distinguished two concepts of &quot;translation&quot; and &quot;translatology&quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.(Tan Zaixi, 1987)<br /> <br /> In the thesis ''An Overview of Western Translation Theory'' (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)<br /> <br /> In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.(Liu Miqing, 1989)<br /> <br /> In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.(Liu Zhongde, 1995)<br /> <br /> At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.( Zhang Meifang, 2005) (Huang Guowen, 2006)<br /> <br /> Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). （Lv Jun，2002）<br /> <br /> Subsequently, Lu published ''Constructing The Linguistic Basis of Translation Studies'' (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)<br /> <br /> Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.(Li Zhenguo ,2017)<br /> <br /> Yi Jing published his doctoral thesis ''On The Construction of Translation Studies'' (2009), which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis ''On The Construction of Translation Studies'' in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.(Yi Jing, 2009)<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. (Zhang Boran,2008) (Yi Jing,2012) <br /> <br /> Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. (Zhao Wenting,2016)<br /> <br /> <br /> Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.(Zou Bing and Mu Lei, 2020) <br /> <br /> In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in ''Translation View in Cognitive Linguistics'' proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition.(Wang Yin,2017)<br /> <br /> Later, many scholars have studied the relationship between cognitive linguistics and translation.Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.(Fan Xiangtao and Lu Bixiao , 2019)<br /> <br /> Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)<br /> <br /> Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)<br /> <br /> From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.<br /> <br /> ==='''3.The Construction of Translatology '''===<br /> <br /> In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.（Yang Zijian，1993）<br /> <br /> '''3.1Translation and Translatology'''<br /> <br /> &quot;Translation&quot; and &quot;translatology&quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)<br /> <br /> In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &quot;translatology&quot; is used to refer to translation studies.&quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&quot;.（Liu Zhongde，1995）<br /> <br /> Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.( Kong Xiangli,2009)<br /> <br /> '''3.2 Three Stages of Translatology'''<br /> <br /> Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies. (Liu Zhongde,1989)<br /> <br /> '''3.2.1 Early translation practice'''<br /> <br /> Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.(Yi Jing,2009)<br /> <br /> The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)<br /> <br /> '''3.2.2 The awareness of an academic discipline'''<br /> <br /> Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &quot;translation must become an independent discipline&quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.(Tan Zaixi, 1987 )<br /> <br /> Such a group of people also appeared in modern China. Lin Yutang used the word &quot;translation studies&quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）<br /> <br /> '''3.2.3 The rapid development stage of translation studies'''<br /> <br /> Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018)<br /> <br /> Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.（Wikipedia）<br /> <br /> ==='''4.The Influence of Linguistics on the Construction of Translatology'''===<br /> <br /> For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.(Zou Bin, Mu Lei, 2020 )<br /> <br /> 4.1 Contributions of early linguists to translation<br /> <br /> As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )<br /> <br /> Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &quot;signifier&quot; and &quot;signified&quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. (Yi Jing, 2009 ) <br /> <br /> Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）<br /> <br /> These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )<br /> <br /> 4.2 Translation studies based on linguistic theory<br /> <br /> In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.(Zou Bin, Mu Lei,2020 )<br /> <br /> 4.2.1 The influence of Structuralist linguistics<br /> <br /> Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &quot;pure linguistic forms&quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.(Lvjun，2004)<br /> <br /> Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &quot;the science of translation&quot; and &quot;dynamic equivalence/Functional equivalence&quot;. Nida 's translation theory has had a great influence in the West and China. ( Yi Jing, 2009)<br /> <br /> Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &quot;six-level equivalence theory&quot; .(Yi Jing,2012)<br /> <br /> Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.（Zou Bin,Mu Lei,2020)<br /> <br /> 4.2.2 The influence of discourse linguistics<br /> <br /> For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002）<br /> <br /> Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics.(Yi Jing, 2009 )<br /> <br /> The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）<br /> <br /> 4.2.3 The influence of contemporary linguistics<br /> <br /> As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）<br /> <br /> Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.(Liao Qiyi， 2000)<br /> <br /> 4.3 The experience of the construction of linguistics<br /> <br /> In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.(Kong Xiangli，2009 )<br /> <br /> 4.4.1 Discipline development<br /> <br /> Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.（Kong Xiangli，2009）<br /> <br /> The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.(Kong Xiangli，2009 )<br /> <br /> 4.4.2 Discipline structure<br /> <br /> Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.(Yang Zijian,1993)<br /> <br /> From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）<br /> <br /> 4.4.3 Development Trend of discipline<br /> <br /> Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.<br /> In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）<br /> <br /> ==='''5.Conclusion'''===<br /> Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. ( Zou Bin, Mu Lei,2020)<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. 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[Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.<br /> <br /> Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.<br /> <br /> Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.<br /> <br /> Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.<br /> <br /> ==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658==<br /> <br /> ==='''Abstract'''===<br /> <br /> With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.<br /> <br /> ==='''Key words'''===<br /> <br /> Translation Studies, translation education, translation talents<br /> <br /> ==='''题目'''===<br /> <br /> 对中国翻译学学习的反思<br /> <br /> ==='''摘要'''===<br /> <br /> 随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析学习翻译学科目前存在的问题，并提出相关的建议。 <br /> <br /> ==='''关键词'''=== <br /> <br /> 翻译学，翻译教育，翻译人才<br /> <br /> <br /> ==='''1. Introduction'''===<br /> <br /> 1.1. The Connotation of Translation Studies<br /> <br /> Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &quot;''The Name and Nature of Translation Studies''&quot;, is a basic statement of translation studies: it calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, including comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.<br /> <br /> Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. <br /> <br /> Translation Studies can examine the practice and background of translating professional texts (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. <br /> <br /> Learning these contents enables students to apply their theoretical understanding to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually include the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills needed to solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.<br /> <br /> 1.2. The Significance of Translation Study<br /> <br /> With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. At the same time, as today's multicultural and multilingual society requires effective, efficient and understanding communication between languages and cultures, translation skills have become more and more important and desirable. <br /> <br /> As a science, Translation Studies has always had its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. <br /> <br /> Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can understand the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. This is also the necessity for translators to learn Translation Studies.<br /> <br /> ==='''2. The Development Process of Translation Studies in China'''===<br /> <br /> Translation activities has appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, the flourishing period of Translation Studies.<br /> <br /> 2.1. The Exploration Period of Translation Studies <br /> <br /> In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, Almost no. What we have are some translation regulations and fragments of experience for temporary reference.&quot; He clearly called for the establishment of &quot;a complete translation theory system&quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. <br /> <br /> The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared in history.<br /> <br /> However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have become increasingly single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc.<br /> <br /> At that time, because a large number of people who understand foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to strengthen foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under foreign language and literature, but the distinction between translation teaching and language teaching has gradually become clear.<br /> <br /> 2.2. The Development Period of Translation Studies<br /> <br /> At the beginning of this period, it was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. <br /> <br /> At this stage, some masters and doctors in translation studies joined the construction team translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation desperately. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of &quot;''China Translator''&quot; in 2004 come to congratulate.<br /> <br /> Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.(Huang Zhongqian, Zhang Xiao 2020) Translation research ideas, methods, space and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.<br /> <br /> 2.3. The Flourishing Period of Translation Studies<br /> <br /> In 2011, the Ministry of Education adjusted the discipline catalog and listed &quot;Translation Studies&quot; as a second-level subject under the first-level discipline of &quot;Foreign Languages and Literature&quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction. <br /> <br /> <br /> In the flourishing period, the construction of translation disciplines and the development of translation majors in China have shown a new look. Many levels have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training. <br /> <br /> There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.<br /> <br /> ==='''3. Challenges of Learning Translation Studies in China'''===<br /> <br /> The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. China's translation discipline has now entered a new stage, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.<br /> <br /> 3.1. Translation Education<br /> <br /> With the establishment of the status of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the training of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better. <br /> <br /> However, China's translation education started and developed after the reform and opening up, is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, and systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.<br /> <br /> 3.1.1. Orientation of the Cultivation of Translation Talents<br /> <br /> At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to the unclear concept of the cultivation of translation talents. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation professional teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market. (Zhong Weihe 2019)<br /> <br /> Due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.<br /> <br /> 3.1.2. Faculty Resources<br /> <br /> The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. The problem of translation teachers has always been a bottleneck problem that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. <br /> <br /> Recent evaluation data show that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &quot;''National Standard of Part-time Teacher in MTI Education'' &quot;. (Zhong Weihe 2019) In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.<br /> <br /> 3.1.3. Teaching method<br /> <br /> Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2020) <br /> <br /> This kind of teaching method that ignores student autonomy is entirely a teacher-centered teaching model, which will place too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.<br /> <br /> 3.1.4 Translation Teaching Research<br /> <br /> The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is rare. <br /> <br /> Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play.(Bo Zhenjie, Li Heqing 2011) However, combining actual translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but not deep into the actual situation.<br /> <br /> 3.2. Students<br /> <br /> The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.<br /> <br /> 3.2.1. Low level of commitment to translation learning<br /> <br /> Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. <br /> <br /> Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. <br /> <br /> As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between the word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.<br /> <br /> 3.2.2. Insufficient background knowledge <br /> <br /> Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not grasp sufficient background information. <br /> <br /> With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. (Xie Zhentian, 2015) Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.<br /> <br /> 3.2.3. Neglect of theoretical knowledge<br /> <br /> At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）<br /> <br /> ==='''4. Suggestions for the Learning of Translation Studies'''===<br /> <br /> In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved according to the development of times. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote the development of Translation Studies in China.<br /> <br /> 4.1. Translation Education<br /> <br /> 4.1.1. Improve Teaching Mode<br /> <br /> The teaching model is an important basic guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation or current affairs. <br /> <br /> Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to make something new. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. <br /> <br /> The objective teaching method is a teaching mode that can be introduced in translation teaching. This type of mode attaches great importance to the construction of learning environment and the value of teachers' guidance to students. (Ou Yonghua 2019) This is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.<br /> <br /> 4.1.2. Strengthen Faculty Force<br /> <br /> Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. <br /> <br /> Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and first-line translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） <br /> <br /> Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)<br /> <br /> 4.1.3. Broaden the academic vision of translation<br /> <br /> Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline,which carry out the provision of roadmap for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)<br /> <br /> The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary and integration, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)<br /> <br /> 4.2. Students <br /> <br /> The quality of translation talents plays a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.<br /> <br /> 4.2.1. Expanding knowledge<br /> <br /> Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future, in addition to having a solid foundation in language ability, they should also take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills. <br /> <br /> A very good way to expand their knowledge is to improve their search ability. Search ability, specifically, refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students is urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)<br /> <br /> 4.2.2. Emphasize theory and practice more<br /> <br /> Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics, not only the translation skills and theories，but also practice more. Theories that are out of practice cannot keep up with the development of the times. <br /> <br /> Students must spend enough time in practicing. They can go to the front line of production or go deep into all aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.<br /> <br /> ==='''5.Conclusion'''===<br /> <br /> This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the concept of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Those engaged in translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and so on. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. <br /> <br /> From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.<br /> <br /> President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies were not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. <br /> <br /> Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, draw on the latest foreign translation theories, combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. (Zhong Weihe, Zhao Tianyuan 2020) The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.<br /> <br /> ==='''References'''===<br /> Holmes, James S. (1972). The Name and Nature of Translation Studies. ''Papers on Literary Translation and Translation Studies''. 67–80.<br /> <br /> Bo Zhenjie, Li Heqin.薄振杰,李和庆.(2011).关于当前中国翻译教学研究的思考.[ Reflection on the Current Research of Translation Teaching in China].外语界[''Foreign Language World''] 76-83.<br /> <br /> Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].<br /> <br /> Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.<br /> <br /> Jiang Feifei.姜菲菲.(2019).中国文化走出去背景下对翻译学科的综述. [A Summary of Translation Studies from the Background of Outputting Chinese Culture].校园英语[''English Campus'']7-8. <br /> <br /> Lan Hongjun.蓝红军.(2018)从学科自觉到理论建构:中国译学理论研究(1987-2017). [Theoretically Oriented Translation Studies in China: 1987 - 2017].中国翻译[''Chinese Translators Journal'']7-16<br /> <br /> Mu Lei, Li Xixi.穆雷, 李希希.(2019).中国翻译教育研究:现状与未来.[ Research on Translation Education in China: Status Quo and Future] .外语界[''Foreign Language World''] 24-32.<br /> <br /> Ou Yonghua.(2019).新时期中国翻译教学研究思考概述. [An Overview of Researches on Chinese Translation Teaching in the New Era].课程教育研究[''Course Education Research''] 13.<br /> <br /> Xi Jinping.习近平.(2016).在哲学社会科学工作座谈会上的讲话.[ Speech at the Symposium on Philosophy and Social Sciences].新华网[xinhuanet].<br /> <br /> Xie Zhentian.谢天振.(2015).翻译巨变与翻译的重新定位与定义——从2015年国际翻译日主题谈起.[ Great Changes in Translation and Repositioning and Definition of Translation——Starting from the theme of the International Translation Day in 2015].东方翻译[''East Journal of Translation''] 4-8. <br /> <br /> Wang Baigula.王白古拉.(2018).中国翻译教学现状与复合型翻译人才培养. [The Status Quo of Translation Teaching in China and the cultivation of Interdisciplinary Translators].文存阅刊[''Wen Cun Journal''] 87.<br /> <br /> Wang Na.王娜. (2020).MTI在校生搜索能力不足成因分析. [An Analysis of the Causes of Insufficient Searching Ability of MTI Students].海外英语[''Overseas English''] 194-195.<br /> <br /> Zhong Weihe.仲伟合.(2019).改革开放40年我国翻译专业教育:成就、挑战与发展. [China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.<br /> <br /> Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.<br /> <br /> ==The influence of translator's cultural identity on translation 周玉娟 Zhou Yujuan== <br /> &lt;center&gt;周玉娟 Zhou Yujuan 202020080674 亚非语言文学波斯语方向 .&lt;/center&gt;<br /> <br /> &lt;center&gt;The influence of translator's cultural identity on translation.&lt;/center&gt;<br /> <br /> ===Abstract===<br /> Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.<br /> <br /> ===Keywords===<br /> translation; translator; cultural identity; Shakespeare's plays<br /> <br /> ===题目===<br /> 译者文化身份对翻译的影响<br /> <br /> ===摘要===<br /> 梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。<br /> <br /> ===关键词===<br /> 翻译；译者；文化身份；莎士比亚剧<br /> <br /> ===Introduction===<br /> Translating a work is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important active role in both translating the content and interpreting it, and the translator is the first person who is in direct contact with the original text.<br /> <br /> Translating a work that is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important role in both translating and interpreting, and the translator is the first person who is in direct contact with the original text.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 14:49, 18 December 2020 (UTC)<br /> <br /> <br /> Benjamin, the famous German literary critic, once said : &quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &quot;cultural identity&quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)<br /> <br /> There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.<br /> <br /> === Introduction to the identity of the translator===<br /> Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.<br /> <br /> Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.<br /> <br /> (While your first quote here may be intended to explain to the reader where the concept of cultural identity came from, I suggest you explain the meaning of the concept proposed by the cited author.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> &quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&quot; (Xi Yongji. 2007:245)<br /> <br /> ====Zhu Shenghao's Cultural Identity====<br /> Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.<br /> <br /> In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.<br /> <br /> Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on naturalization strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.<br /> <br /> （Be clear about what exactly domestication or foreignization in your text means and who defines it. Use word “domestication” instead of “naturalization”in general.）--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> ====Liang Shiqiu's Cultural Identity====<br /> Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.<br /> <br /> However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &quot;All civilization is the original creation of a very few geniuses&quot;, &quot;literature and art are the original creation of a few geniuses&quot;, &quot;there is no literature and art for the majority, and literature and art are not for the majority &quot;. (Liang Shiqiu: R.O.C. 23) &quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&quot; <br /> <br /> However, it is worth mentioning that Liang believed that literature is a creation of genius. Liang repeatedly said, &quot;All civilization is the original creation of a very few geniuses&quot;, &quot;literature and art are the original creation of a few geniuses&quot;, &quot;there is no literature and art for the majority, and literature and art are not for the majority &quot;. (Liang Shiqiu: R.O.C. 23) &quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&quot; --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12) <br /> <br /> We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &quot;genius literature&quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese literary world. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.<br /> <br /> We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &quot;genius literature&quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese translation. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> ====Foreignization and domestication Strategies====<br /> According to Venuti, domestication is &quot;bringing the original author into the desired language and culture of the translation&quot;, while dissimilation is &quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&quot; (Venuti, 1995:20). (Venuti, 1995:20)<br /> <br /> According to Venuti, domestication is &quot;bringing the original author into the desired language and culture of the translation&quot;, while dissimilation is &quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&quot; (Venuti, 1995:20). --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.<br /> <br /> The method of Foreignization is: &quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.<br /> (Here you used foreignization ,but above the paper,you use alienation,The specific concepts of context should be unified.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> ===The cultural identity of translators in translation===<br /> First, the translator is the second pair of eyes of the reader. &quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.<br /> <br /> Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.<br /> (Here world literature is not very accurate, maybe you can say world translation)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> ====In terms of the original intention of translation====<br /> The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &quot;interest&quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao himself said, &quot;I love Shakespeare's plays so much and so only that I have tried to read the whole text at least ten times from the beginning to the end. ......&quot; Zhu's love for Shakespeare is so strong that &quot;He was so passionate about Shakespeare that he would not stop reading Shakespeare, not eating it. <br /> <br /> The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &quot;interest&quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao said, &quot;I love Shakespeare's plays so much so that I have tried to read the whole text at least ten times from the beginning to the end. ......&quot; Zhu's preference for Shakespeare is so obvious that &quot;He was so passionate about Shakespeare that he would not stop reading and studying Shakespeare assiduously.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.<br /> <br /> Liang Shiqiu believes that there is a distinction between elegant and vulgar literature, genius is to appreciate literature, the general public to read are popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &quot;the highest art only a few people can understand ......, literature and art is not the majority.&quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &quot;literature is created by genius&quot;.<br /> <br /> Liang Shiqiu believed that there is a distinction between elegant and vulgar literature, genius always appreciate literature, the general public usually read popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &quot;only a few people can understand the highest art ......, literature and art is not for the majority.&quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &quot;literature is created by genius&quot;.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> When he studied at Harvard University, he took the course &quot;Literary Criticism after the Sixteenth Century&quot; by the American neoclassicist Byrd Byrd, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &quot;preserve the most authentic things&quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &quot;hard translations&quot; and &quot;bent translations&quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)<br /> (Here maybe you want to say Irving Babbitt not Byrd, plz check it again)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> ====In terms of the content of the translation (taking the translation of Shakespeare as an example)====<br /> Zhu Shenghao stated at the beginning of his translation: &quot;My aim in translating this book is, first, to maintain the charm of the original work to the greatest extent possible, and then to consider the second point if it is not feasible, that is, to convey faithfully the meaning and feelings of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao's translation of Sha plays more attention to the performance function of drama.<br /> <br /> Zhu Shenghao stated at the beginning of his translation: &quot;In translating this book, my aim is to maintain the charm of the original work as much as possible, and then to consider the second point if it is not feasible, that is, to convey the meaning and feelings faithfully of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao paid more attention to the performance function of drama in translation of Shakespeare’s plays.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)<br /> <br /> For example: ( the translation of Zhu Shenghao)<br /> <br /> EGEUS: Stand forth，Demetrius． My noble lord，<br /> 伊吉斯:走上前来，狄米特律斯。殿下，这个人，<br /> <br /> This man hath my consent to marry her．<br /> 是我答应把我女儿嫁给他的<br /> <br /> Stand forth，Lysander．<br /> 走上前来，拉山德。<br /> <br /> And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）<br /> 殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）<br /> <br /> In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &quot;purified&quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. <br /> For example, his translation. <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)<br /> <br /> 拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!<br /> 否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。<br /> <br /> Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &quot;faithfulness and fidelity&quot;. The style of &quot;faith&quot; and &quot;faithfulness&quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.<br /> <br /> First: Stay true to the original text and try not to delete or subtract from it.For example:<br /> <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)<br /> <br /> Translation of Liang Shiqiu:<br /> <br /> 赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，<br /> <br /> 否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。<br /> <br /> HELENA She was a vixen when she went toschool: <br /> <br /> And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)<br /> <br /> 海 上学时她就是个狐狸精。<br /> <br /> 她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。<br /> <br /> Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &quot;Shakespearean&quot;. &quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&quot;. (Liang Shiqiu. 1966) <br /> Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. <br /> <br /> For example, a fragment of Liang Shiqiu's translation of Hamlet.<br /> <br /> Queen. There is a willow grows aslant a brook,<br /> That shows his hoar leaves in the glassy stream;<br /> There with fantastic garlands did she come,<br /> Of crow-flowers, nettles, daisies, and long purples,<br /> That liberal shepherds give a grosser name.<br /> But our cold maids do dead man’s fingers call them:<br /> There, on the pendent boughs her coronet weeds<br /> Clambering to hang ,an envious sliver broke,<br /> When down her weedy trophies and herself<br /> Fell in the weeping brook. Her clothes spread wide;<br /> And, mermaid-like, awhile they bore her up;<br /> Which time she chanted snatches of old tunes; As one<br /> incapable of her own distress,<br /> Or like a creature native and indu’d<br /> Unto that element: but long it could not be<br /> Till that her garments ,heavy with her drink,<br /> Pull’d the poor wretch from her melodious lay<br /> To muddy death.<br /> （shakespeare, hamlet, act Ⅳ, scenceⅦ）<br /> <br /> The translation of Liang Shiqiu：<br /> (You can say Liang’s version :)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)<br /> 河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。<br /> <br /> ===Conclusion===<br /> The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. <br /> <br /> For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. <br /> <br /> By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.<br /> <br /> ===References===<br /> <br /> Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．<br /> <br /> Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)<br /> <br /> Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary]. 台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.<br /> <br /> Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.<br /> <br /> Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128.. <br /> <br /> Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.<br /> <br /> Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.<br /> <br /> Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．<br /> <br /> Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．<br /> <br /> Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004<br /> <br /> Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.<br /> <br /> Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001<br /> <br /> Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．<br /> <br /> Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.<br /> <br /> ==Descriptive translation studies 曹润鑫 Cao Runxin==<br /> <br /> ===Abstract===<br /> The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.<br /> <br /> ===Key words===<br /> Descriptive translation studies; Translation studies<br /> <br /> ===摘要===<br /> 描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍<br /> <br /> ===关键字===<br /> 描述翻译学；翻译研究<br /> <br /> ===Introduction===<br /> Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &quot;faithfulness&quot; and &quot;equivalence&quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.<br /> <br /> Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &quot;cultural shift&quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &quot;faithful&quot; and &quot;reciprocal&quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.<br /> <br /> In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &quot;how translation should be&quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.<br /> <br /> ===Tuli and ''Descriptive translation''===<br /> The concept of &quot;descriptive translation&quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &quot;The Name and Reality of Translation Studies&quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.<br /> <br /> Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.<br /> <br /> In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&quot;. [3]<br /> <br /> According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &quot;(more) objective&quot; norms, while the latter are &quot;(more) subjective&quot; i.e. &quot;less objective&quot;. The concept of the This concept is very important in its theoretical system.<br /> <br /> He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]<br /> <br /> According to Tuli, &quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.<br /> Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &quot;translations&quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent. &quot;Exoticism&quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &quot;translation tone&quot; in the text. Due to the real existence of &quot;translation cavity&quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &quot;translation cavity&quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.<br /> <br /> Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &quot;credible&quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112<br /> <br /> According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.<br /> <br /> Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.<br /> <br /> In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &quot;meta-prescriptive&quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &quot;translation studies can never be merely descriptive&quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.<br /> <br /> === Hermanns and ''Translation in Systems''===<br /> The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.<br /> <br /> Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &quot;norm&quot; and Chesterman's &quot;norm&quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.<br /> <br /> The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &quot;reciprocity&quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &quot;norm&quot; and introduces the &quot;norm&quot; proposed by Tully and the &quot;norm&quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.<br /> <br /> Scholars who study descriptive translation have proposed that literature should be regarded as &quot;a complex and dynamic system&quot;, and that literary translation studies should &quot;adopt a descriptive, target-language-based, functional and systematic research approach&quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.<br /> <br /> ===Conclusion===<br /> Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.<br /> <br /> ===References===<br /> [1]李红满.论当代西方翻译研究范式的转变[J].外语与翻译, 2002 (2) .<br /> <br /> [2]张美芳.翻译学的目标与结构——霍姆斯的译学构想介评[J].中国翻译, 2000 (2) .<br /> <br /> [3]Toury, Gideon.Descriptive Translation Studies and Beyond[M].Shanghai:Shanghai Foreign Language Education Press, 2001.<br /> <br /> [4]林克难.翻译研究:从规范走向描写[J].中国翻译, 2001 (6) .<br /> <br /> [5]Vermeer, Hans J.A Skopos Theory of Translation[M].Heidellburg:TEXT-con, 1996.<br /> <br /> [6]Venuti.Lawrence.The Translator’s Invisibility[M].A History of Transla-tion.London&amp;New York:Routledge, 1995.<br /> <br /> [7]Snell-Homby, Mary.Translation Studies.AnIntegrated Approach[M].Re-vised ed.Amsterdam:John Benjamins, 1995.<br /> <br /> [8]Hemans, Theo, ed.The manipulation of Literature[M].London&amp;Sydney:Croom Helm, 1985.<br /> <br /> [9]韩子满, 刘芳.描述翻译研究的成就与不足[J].外语学刊, 2005 (3) .<br /> <br /> [10]谢天振.翻译研究新视野[M].青岛:青岛出版社, 2003.<br /> <br /> [11]张南峰.从梦想到现实——对翻译学科的东张西望[J].外国语, 1998 (3) .<br /> <br /> ==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==<br /> <br /> &lt;center&gt;肖伊宁 Xiao Yining 202020080655&lt;/center&gt;<br /> <br /> ===Abstract:=== <br /> This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and deeply understand the status of descriptive translation studies.<br /> <br /> ===摘要：===<br /> 本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，深刻理解描写性翻译研究的地位。<br /> <br /> ===Key words:===<br /> descriptive translation studies; normative translation studies; limitation; necessity; relationship.<br /> <br /> ===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.<br /> <br /> ===Chapter 1 Introduction===<br /> <br /> Translation has a history of more than 2000 years. In the long-term and varied translation activities of translation, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）<br /> <br /> Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &quot;faithfulness, expressiveness and elegance&quot;, Lu Xun's &quot;rahter to be faithful than smooth&quot; and Lin Yutang's &quot;faithfulness smoothness elegance&quot;. （Liao Qiyi 2002，6）<br /> <br /> In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) <br /> <br /> However, these translation studies are actually &quot;normative&quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &quot;misleading readers&quot; or &quot;unfaithful to the original work&quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)<br /> <br /> ===Chapter 2 The emergence and development of descriptive translation studies===<br /> <br /> In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.<br /> <br /> ====2.1 John MacFarlane====<br /> <br /> In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &quot;ideal&quot; or &quot;real&quot; translation.(Lin Kenan 2001, 44)<br /> <br /> Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)<br /> <br /> ====2.2 Firth====<br /> <br /> Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) <br /> <br /> ====2.3 James Holmes====<br /> <br /> With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）<br /> <br /> &quot;He divides translation studies into three categories:<br /> (1) Description: to describe the special phenomenon of translation in real life;<br /> (2) Theory: establishing the principle of explaining translation phenomena;<br /> (3) Application: the information obtained from the former two is used in translation practice and translator training.&quot;（Liao Qiyi 2002，54） <br /> <br /> He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. <br /> <br /> For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&quot;（Liao Qiyi 2002，55）<br /> <br /> Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）<br /> <br /> Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&quot; (Hermans 1985, 14). <br /> <br /> However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.<br /> <br /> ====2.4 Polysystem Theory====<br /> <br /> In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &quot;The polysystem（多元体系派） is not satisfied with the achievements made by the translation studies（翻译研究派）. It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &quot;polysystem&quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&quot;（Liao Qiyi 2002, 59）<br /> <br /> According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）<br /> <br /> Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）<br /> <br /> ====2.5 Gideon Toury<br /> <br /> Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）<br /> <br /> This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）<br /> <br /> Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &quot;one to one correspondence&quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）<br /> <br /> In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &quot;International Journal of translation studies&quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. <br /> <br /> Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &quot; (Toury 2012. xii)<br /> <br /> He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.<br /> <br /> ====2.6 Snell-Hornby<br /> <br /> In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. <br /> <br /> Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &quot;Description&quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)<br /> <br /> ===Chapter 3 The relationship between normative translation studies and descriptive translation studies===<br /> <br /> ====3.1 The value of descriptive translation studies and the limitations of normative translation studies====<br /> <br /> In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.<br /> <br /> Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) <br /> <br /> Maria Tymoczko believes that：&quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.<br /> <br /> Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) <br /> <br /> Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：<br /> <br /> (1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. <br /> <br /> However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &quot;translation&quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)<br /> <br /> (2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &quot;the wrong way of translation&quot;. (Liu Yingkai 1987, 22) <br /> <br /> The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &quot;the gain and loss of a work should be measured from the perspective of history&quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) <br /> <br /> ====3.2 The limitations of descriptive translation studies and the value of normative translation studies====<br /> <br /> First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory has certain progressive significance and reference, it is not perfect.(Liu Zongyan 2008, 201) <br /> <br /> Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &quot;detached and purely descriptive attitude.&quot; ( Hermans 1999 , 36) <br /> <br /> This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &quot;meta - prescriptive&quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &quot;translation studies can never be merely descriptive&quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)<br /> <br /> On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. <br /> Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)<br /> <br /> ====3.3 The relationship between prescriptive translation studies and descriptive translation studies====<br /> <br /> In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )<br /> <br /> The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.<br /> <br /> ===Chapter 4 Conclusion=== <br /> <br /> Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.<br /> <br /> Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.<br /> <br /> Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.<br /> <br /> ===Chapter 5 Reference===<br /> Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.<br /> <br /> J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press, 20.<br /> <br /> Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.<br /> <br /> Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.<br /> <br /> Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.<br /> <br /> Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.<br /> <br /> Snell-Hornby.(1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.<br /> <br /> Han Ziman 韩子满，Liu Fang 刘芳（2005）. 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).<br /> <br /> Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]<br /> <br /> Lin Kenan 林克难. (2001).翻译研究：从规范走向描写[Translation Studies: From the Prescriptive <br /> to the Descriptive Approach].中国翻译[Chinese Translation Journal](06).<br /> <br /> Liu Zongya 刘宗衍. 浅谈翻译理论的“规范”性[On the &quot;Normative&quot; Nature of Translation Theory]. 科技资讯[Science &amp; Technology Information]<br /> <br /> Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).<br /> <br /> Zhang Nanfeng 张南峰.(2002).多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).<br /> <br /> ==Translation Strategies Sagara Seydou, Student No :201911080004, Major:Translation Studies== <br /> <br /> Translation Strategies <br /> <br /> ==Abstract == <br /> <br /> Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.<br /> <br /> Key words: translation strategies and translational problems.<br /> <br /> This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;<br /> <br /> ==Introduction==<br /> <br /> The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers define them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical significance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)<br /> <br /> ==Content==<br /> <br /> Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classifications from different perspectives. For example, Lörscher’s (1991) classification is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classifications. It seems that clear-cut definitions of these terms might not work as well as prototype definitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)<br /> The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reflect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reflects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)<br /> <br /> The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp fiction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp; Munday,2004, p. 230)<br /> <br /> Having discussed the two prototype strategies, let us turn to the definitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few defining characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difficulty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).<br /> Problems, according to their scale, can be divided into global (or general) problems and local (or specific) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “specific activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle specific problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by specific techniques, which affect the translation result and the micro-units of the text, and are classified by comparison with the source text (Molina &amp; Hurtado Albir, 2002, p. 509).<br /> <br /> As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural filtering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.(Molina &amp; Hurtado Albir, 2002, p. 509).<br /> <br /> However, this is not consonant with the dictionary definitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is defined as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) defines translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will influence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identified the following text processing strategies: (a) problem identification, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal significant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can find out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280) ==<br /> Darwish (2008) identifies four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70<br /> ==<br /> However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might influence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difficulty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.(Lörscher, 1991, p. 70).<br /> <br /> ==Conclusion==<br /> <br /> In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.<br /> <br /> ==References==<br /> <br /> Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp; J. Laffling(Eds.), Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=History_of_Translation_Studies_10&diff=115038 2020-12-18T16:36:09Z

<p>Sagara Seydou 3: /* Translation Strategies Sagara Seydou, Student No :201911080004, Major ;Translation Studies */</p> <hr /> <div>这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> *Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> *Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]<br /> *Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].<br /> ='''Functional Equivalence'''=<br /> <br /> <br /> == On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing== (please add your student number and major)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:10, 18 December 2020 (UTC)<br /> <br /> ===Abstract===<br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.<br /> <br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal and functional equivalence, the former of which pursues the equivalence in form and content and the latter of which pursues equivalence in function between the two languages. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:10, 18 December 2020 (UTC)<br /> <br /> ===key words===<br /> <br /> functional equivalence, formal equivalence, translation<br /> <br /> ===摘要===<br /> 翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。<br /> <br /> ===关键字===<br /> 功能对等，形式对等，翻译<br /> <br /> ===Introduction===<br /> <br /> As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. <br /> <br /> Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.<br /> <br /> ===Functional Equivalence===<br /> In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)<br /> <br /> Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. <br /> <br /> To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. <br /> Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.<br /> <br /> ===Formal equivalence===<br /> <br /> Formal equivalence, though seeking equivalence as well, focuses mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） <br /> <br /> Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.<br /> <br /> From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.<br /> <br /> ===Relationship between functional equivalence and formal equivalence===<br /> In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.<br /> <br /> For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.<br /> <br /> Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.<br /> <br /> Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.<br /> <br /> Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.<br /> <br /> ===Application of functional equivalence and functional equivalence in translation===<br /> <br /> Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.<br /> <br /> ====Lexical equivalence====<br /> <br /> Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.<br /> <br /> Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. <br /> <br /> It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. <br /> “When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”<br /> In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.<br /> <br /> ====Syntax equivalence====<br /> <br /> Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: <br /> “Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”<br /> Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。<br /> <br /> We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.<br /> When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. <br /> There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:<br /> “You’re not a student,are you?”<br /> “Yes, I am.” <br /> Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.<br /> <br /> ====Texual equivalence====<br /> <br /> Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. <br /> <br /> Example: “祥子！”她往前凑了凑：“我有啦！” <br /> “有了什么？”他一时蒙住了。<br /> “这个！”她指了指肚子。“你打主意吧！”<br /> Translation: “Xiangzi,” she came closer. “I am in trouble!”<br /> “What trouble?” He was startled.<br /> “This!” She pointed her belly. “What was you going to do about it?”<br /> According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.<br /> <br /> In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner connotation it bears. <br /> Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. <br /> Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.<br /> <br /> The last element we should never ignore is cultural context given that there are great cultural differences between English and Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.<br /> Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.<br /> We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.<br /> <br /> ====Stylistic equivalence====<br /> <br /> Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.<br /> Example: 清明<br /> 杜牧<br /> 清明时节雨纷纷，路上行人欲断魂。<br /> 借问酒家何处有? 牧童遥指杏花村。<br /> Translation by Wu Juntao:<br /> The Pure Brightness Day<br /> By Du Mu<br /> It drizzles thick and fast on the Pure Brightness Day,<br /> I travel with my heart lost in dismay.<br /> “Is there a public house somewhere, cowboy?”<br /> He points at Apricot Village faraway.<br /> <br /> In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..<br /> Translation by Xu Yuanchong:<br /> The Mourning Day<br /> By Du Mu<br /> A drizzling rain falls like tear on the Mourning Day;<br /> The mourner’s heart is going to break on his way.<br /> Where can a wineshop be found to drown his sad hours?<br /> A cowherd points to a cot ’mid apricot flowers. <br /> <br /> In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.<br /> <br /> ===Conclusion===<br /> <br /> Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation. <br /> <br /> Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)<br /> <br /> ===References===<br /> <br /> Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.<br /> <br /> Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.<br /> <br /> Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．<br /> <br /> Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.<br /> <br /> Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.<br /> <br /> Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &quot;Faithfulness, Expressiveness and Elegance&quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.<br /> <br /> Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.<br /> <br /> Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.<br /> <br /> Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.<br /> <br /> Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.<br /> <br /> 尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．<br /> <br /> Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).<br /> <br /> UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．<br /> <br /> == My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==<br /> <br /> == Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==<br /> &lt;center&gt;肖茜 Xiao Xi No.202020080654&lt;/center&gt;<br /> ===Abstract===<br /> Hao Jingfang's science fiction &quot;Folding Beijing&quot; won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu's rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of the theory of Nida's functional equivalence to &quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&quot;. The theory of Nida's functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu's application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.<br /> <br /> ===Key words===<br /> Functional Equivalence; Folding Beijing; meaning; style; culture<br /> <br /> ===题目===<br /> 刘宇昆翻译中的功能对等-以《北京折叠》为例<br /> ===摘要===<br /> 郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。<br /> <br /> ===关键词===<br /> 功能对等；《北京折叠》；意义；风格；文化<br /> <br /> ===Introduction===<br /> In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.<br /> <br /> This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers' understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information.<br /> <br /> Nida's functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.<br /> <br /> ===1. Eugene A. Nida and His Theory of Functional Equivalence===<br /> <br /> Eugene A. Nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work Toward a Science of Translating. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers' response, not just the equivalence of content and form. <br /> <br /> In his book The Theory and Practice of Translation, Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida's dynamic equivalence theory requires that the translation readers' response to the translation should be consistent with that of the original readers. <br /> <br /> Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &quot;The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers did&quot; (Nida 1993:118). <br /> <br /> In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the receptor-language reader's response, (3) the receptor language and culture as a whole. Nida defined the reader's response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader's response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.<br /> <br /> ===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===<br /> <br /> ====2.1 Functional Equivalence from Aspect of Meaning====<br /> <br /> Nida and Taber (2004：12) stated that &quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&quot; Meaning in this chapter will from three levels to discuss: words, sentences and passages, in other words, these three levels is a detailed analysis of the lexicon, syntax and discourse. According to the functional equivalence theory, translation should not only achieve literal equivalence, but also discover the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in the translation of Folding Beijing from lexical, syntactic and discourse perspectives.<br /> <br /> =====2.1.1 Lexical level=====<br /> <br /> In literary translation, how to correctly interpret the meaning of a word or phrase is always a difficult problem. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is most appropriate. In the English translation of Folding Beijing, there are many examples to illustrate how the translation achieves functional equivalence with the source text in the lexical level as follows:<br /> <br /> Example 1:<br /> “食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）<br /> <br /> &quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&quot; (Ken Liu 2015)<br /> <br /> Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &quot;the plastic tables at the food hawker stalls&quot; for readers to understand. &quot;Sour and spicy powder&quot; is originally a kind of Chinese noodles. The author uses &quot;hot and sour rice noodles&quot; to describe the taste of sour and spicy and the raw material of noodles is rice.<br /> <br /> Example 2:<br /> “这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）<br /> <br /> &quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&quot; (Ken Liu 2015)<br /> <br /> The translator uses &quot;a toothpick dangling between his lips&quot; to describe the action of picking teeth，it's more detailed and vivid. “懒散不修边幅” is translated into &quot;lazy and slovenly&quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &quot;the appearance of being perpetually grumpy&quot;, in this way, the translation better expresses the author's intention to express the meaning of looking bad-tempered. <br /> <br /> Example 3:<br /> “霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）<br /> <br /> &quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&quot; (Ken Liu 2015)<br /> <br /> The author did not translate directly “闪烁的小灯” into &quot;the little flashing lights &quot;, but &quot;Tiny flashing LEDs&quot;. This is also because of the translator's own understanding of the text, he wants the readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &quot;lapi&quot;, which is to show the original meaning.<br /> <br /> =====2.1.2 Syntactic Level=====<br /> <br /> Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese. <br /> <br /> The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, conjunctions and relationship between words in English use frequency is very high. Secondly, English speakers put attention on object consciousness and used to the order from a small object to a large one, from specific to general; In Chinese texts, there is usually a temporal, spatial or causal sequence of time sequence. Finally, English language usually emphasizes important information at the beginning of a sentence, while the Chinese language tends to process information from the obsolete to the fresh for the purpose of impressing people.<br /> <br /> In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a proper form. The following are some examples to show that how English translation oh Folding Beijing achieves functional equivalence to the original text in syntactic level: <br /> <br /> Example 1:<br /> “ ‘现在政府太混沌了，做事太慢，僵化，体系也改不动。’他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。’他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’” （Jingfang Hao 2016:15）<br /> &quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&quot; (Ken Liu 2015)<br /> We can see that in the translation of this paragraph, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the readers have supplemented and translated this sentence into &quot;I'll also work to expand the pool of candidates for government service and promotion&quot;, The translator perfectly explains what &quot;放开&quot; means.<br /> <br /> Example 2:<br /> “昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）<br /> <br /> “Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) <br /> <br /> In this passage, the text refers to “过去” twice with emphasis. In order to achieve the same emphasis in the English translation, the author chose to adjust the word order, placing &quot;In the dim lamplight&quot; between the two sentences, rather than using a subordinate clause like &quot;…childhood that…&quot;.<br /> <br /> Example 3:<br /> “再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）<br /> <br /> &quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&quot; (Ken Liu 2015)<br /> <br /> In this passage, we can see clearly that English has many more conjunctions than Chinese, like &quot;as though&quot;, &quot;from where&quot; and &quot;that&quot;, this is because of the difference in syntax between the two languages.<br /> <br /> =====2.1.3 Discourse level=====<br /> <br /> Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &quot;rewrite&quot; to make the translated text acceptable to readers. In literary translation, the translator should pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in the level of discourse. The following part selects a dialogue and its English translation in Folding Beijing as an example of literary translation to achieve functional equivalence in discourse level.<br /> <br /> “所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”<br /> <br /> 老刀没有动筷子。他很饿，可是他觉得这时不能吃。<br /> <br /> “可是这等于我也得撒谎。”<br /> <br /> 依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)<br /> <br /> &quot;And so&quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&quot; <br /> <br /> Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.<br /> <br /> &quot;Then I'd be lying, too,&quot; Lao Dao said.<br /> <br /> Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &quot;Please accept this token of my appreciation.&quot; (Ken Liu 2015)<br /> <br /> The conversational habits in Chinese are different from those in English, so some adjustments are often made when translating. The form of the dialogue is not completely translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”translated into &quot;spooned a serving of the new hot dish&quot;, the translator changed the action to &quot;spoon&quot;, which is more suitable for Yi Yan's identity image, it is more suitable as a girl in the first space to spoon the vegetables to Lao Dao. “推给老刀”translated into &quot;She pushed them across the table toward Lao Dao&quot;, this sentence adds some action to make it more pictorial.<br /> <br /> ====2.2 Functional Equivalence from Aspect of Style====<br /> <br /> Every writer has his own writing style, and no one can imitate it perfectly. That is to say, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows the language characteristics, and the English translation can also see that the translator tries to achieve the functional equivalence on the stylistic level.<br /> <br /> =====2.2.1 Rhetoric=====<br /> <br /> First of all, rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form and is a counterpart of dialectic. The use of rhetoric can create vivid images, vivid scenes, improve the effect of literature.<br /> <br /> Example 1:<br /> 老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)<br /> <br /> &quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&quot; (Ken Liu 2015)<br /> <br /> In this passage, the original text compares a hungry stomach to an abyss, and the English translation also uses this metaphor to form a rhetorical functional equivalence.<br /> <br /> Example 2:<br /> 不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)<br /> &quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&quot; (Ken Liu 2015)<br /> <br /> In this paragraph, it is a metaphor, and the words &quot;西山&quot; and &quot;孤&quot; in the original text are not translated, only translated into &quot;an island in the sea&quot;, this description is enough to show the image of a folded city.<br /> <br /> Example 3:<br /> 高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)<br /> <br /> &quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&quot; (Ken Liu 2015)<br /> <br /> It has a personification in this paragraph, &quot;skyscrapers&quot; have &quot;heads, feet, necks and arms&quot;, and &quot;like the humblest servants&quot;, the use of rhetoric enables people to imagine the folding picture of the city through the human image. By comparing the building to a herd of beasts, it shows its size and the sense of fear and oppression it brings.<br /> <br /> Example 4:<br /> 直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)<br /> <br /> &quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&quot;(Ken Liu 2015)<br /> <br /> In this sentence, although &quot;怪胎&quot; translate into &quot;monster&quot;, the &quot;生&quot;express also the same meaning, so the translator does not struggle.<br /> <br /> =====2.2.2 Dialects=====<br /> <br /> Dialect embodies the local characteristics, is the author's own writing style. Sometimes it's a problem in translation. In the following example, we can see how the translator handles this problem.<br /> <br /> For example, &quot;伙计&quot; in English &quot;waiter&quot; ,&quot;铺盖卷&quot; in English &quot;bedrolls&quot; ,&quot;闺女&quot;is translated as &quot;real daughter&quot; ,&quot;她们认死理儿&quot; is translated as &quot;they don't know how to be flexible&quot;,&quot;只是这么多年过来，人就木了.&quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.<br /> <br /> In short, whether the use of rhetoric or dialect in literature, can fully reflect the author's writing style. Therefore, in literary translation, the translator should study the differences between the source language and the target language in the ways to express stylistic differences, and find out the best way to make up for these differences. In this way, literary translation can achieve maximum functional equivalence at the stylistic level.<br /> <br /> ====2.3 Functional Equivalence from Aspect of Culture====<br /> <br /> In the process of translation, the cultural difference between the two languages is also an issue that translators should pay attention to. People who come into contact with different cultures have different ways of thinking, values and social customs and so on. Translators need to understand the two cultures and fully express the cultural elements contained in the original text. At this time, translation plays a role in cross-cultural communication. The translator must present the cultural meaning shown or implied in the original text to the readers so that the translation can achieve the cultural equivalence with the original text. In this chapter, we will analyze the English translation of Folding Beijing from the perspective of food culture, folk culture and culture of idioms, so as to explain how it achieves the functional equivalence with the original text.<br /> <br /> =====2.3.1 Food Culture=====<br /> <br /> The city described by Beijing Folding is the political and cultural center of China, and it is a city with profound cultural deposits. There are a lot of contents belonging to traditional Chinese food culture in the novel. This part will analyze how the translator translates these delicacies to achieve functional equivalence.<br /> <br /> Example 1:<br /> &quot;…面前摆着一盘炒面或炒粉… &quot;(Jingfang Hao 2016:2)<br /> <br /> &quot;Each kid had a plate of chow mein or chow fun…&quot; (Ken Liu 2015)<br /> <br /> &quot;炒面&quot;is a well-known traditional snack in China. The translator makes it into &quot;chow mein&quot;, rather than &quot;Chinese stir-fried noodles&quot;. In the dictionary, &quot;chow mein&quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also makes it more intuitive for the reader to know what the food is.<br /> <br /> Example 2:<br /> &quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&quot;(Jingfang Hao 2016:32)<br /> <br /> &quot;…over a half bottle of baijiu…&quot; (Ken Liu 2015)<br /> <br /> The foreignizing translation is adopted here, &quot;白酒&quot; is translated into &quot;baijiu&quot; , the translator doesn't use the word like &quot;spirits&quot;, it not only retains Chinese cultural characteristics, but also achieves communicative effect.<br /> <br /> Example 3:<br /> &quot;哎，你们知道那儿一盘回锅肉多少钱吗？&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…how much they charge for an order of twice -cooked pork over there?&quot; (Ken Liu 2015)<br /> <br /> The special feature of this dish is that it is boiled in water and then stir-fried. The translator captures this feature in the translation, trying to make people understand the meaning of &quot;回锅&quot;, and this dish is made with pork, he wants readers of the English translation to see an image of the dish in their heads in the same way that Chinese people do.<br /> <br /> =====2.3.2 Folk Culture=====<br /> <br /> Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.<br /> <br /> Example 1:<br /> &quot;…几个人分吃两个菜…&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…and they shared two dishes family-style.&quot; (Ken Liu 2015)<br /> <br /> &quot;分吃&quot; is the most common way of eating in traditional Chinese culture, where several dishes are shared among friends and family. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he use the word &quot;shared&quot; and he add the word &quot;family-style&quot; to make it easier for the reader to understand the behavior. <br /> <br /> Example 2:<br /> &quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&quot;(Jingfang Hao 2016:27)<br /> <br /> &quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&quot; (Ken Liu 2015)<br /> <br /> The culture of hometown is a major feature of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &quot;老乡&quot; from a geographical perspective. &quot;管事儿&quot;means to have some authority. The translator also explains this word so that readers can understand it easily.<br /> <br /> Example 2:<br /> &quot;一点心意，你收下。&quot; (Jingfang Hao 2016:23)<br /> <br /> &quot;Please accept this token of my appreciation.&quot;(Ken Liu 2015)<br /> <br /> In this passage, Yi Yan said that she hoped Lao Dao could help her keep a secret, so she wanted to give Lao Dao with money. &quot;心意&quot; means money, which is a euphemism used in China when it is inconvenient to offer money directly. In the translation, the translator also considered a euphemistic way of expression, so he used the word &quot;appreciation&quot;.<br /> <br /> =====2.3.3 Culture of Idioms=====<br /> <br /> Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.<br /> <br /> The author used many idioms in the article, such as &quot;饿虎扑食&quot;, the translator translated it into &quot;ate heartily&quot;, although the translation is easy to understand, but without the image that people are very hungry to eat, from the perspective of functional equivalence, English readers seem to be unable to reach the same level of understanding and response as Chinese readers.<br /> <br /> And &quot;（盘子）一片狼藉&quot;translated into &quot;The dishes were a mess&quot;, it is a brief description of the mess. And &quot;成人之美&quot; translated into &quot;in that case I'll have done a good deed by keeping silent&quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he was keeping secrets and that Yi Yan and Qin Tian might get together in the future. The translator abstractly translated the sentence in the English translation.<br /> <br /> ===Conclusion===<br /> <br /> From the analysis of the English translation of Folding Beijing from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of Folding Beijing to the English reader.<br /> <br /> Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is essentially the same as that of the source language readers, so the target language can be regarded as a functional equivalence translation. Analyzed from three aspects: meaning, style and culture &quot;Beijing fold&quot; English version, you can see on the language, while Chinese and English in logic and grammar are greatly different, there exist many differences in the Chinese culture and western culture, but the translator still tries his best to keep the content of the original text in the translation and find more appropriate words.<br /> <br /> In terms of some specific content, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction, which is of great value.<br /> <br /> ===References===<br /> <br /> [1] Hao Jingfang. Folding Beijing [J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy, 2015.<br /> <br /> [2] Nida, Eugene A. Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press,1993<br /> <br /> [3] Nida, Eugene A. Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001<br /> <br /> [4] Nida, Eugene A. &amp; Taber, Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2004<br /> <br /> [5] 郝景芳.孤独深处[M].南京：江苏凤凰文艺出版社，2016：1-40<br /> <br /> [6] 谭载喜.新编奈达论翻译[M].北京：中国对外翻译出版公司，1999<br /> <br /> [7] 许钧，穆雷.翻译学概论[M].南京：译林出版社，2009<br /> <br /> [8] 赵丹丹.浅论奈达的功能对等理论[J].文学教育，2011<br /> <br /> [9] 周兴阳.从功能对等理论视角看《北京折叠》英译本研究[J].新疆大学，2018<br /> <br /> [10] 王桂圆.系统功能语言学视角下《北京折叠》英译研究[J].海外英语，2018<br /> <br /> ==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==<br /> &lt;center&gt;余妮 Yu Ni No.202070080620&lt;/center&gt;<br /> ===Abtract===<br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. <br /> <br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s version has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===Key Words===<br /> Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong<br /> ===题目 ===<br /> 功能对等理论下余光中译《不可儿戏》分析<br /> ===摘要===<br /> The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。<br /> ===关键词===<br /> 功能对等；《不可儿戏》；余光中<br /> ===Introduction===<br /> “The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. <br /> <br /> “The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.<br /> <br /> The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) which was co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable, for it has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. With the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The following chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author makes a conclusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===An Introduction of Functional equivalence===<br /> ====The Definition of Functional Equivalence====<br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.<br /> <br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, according to the nature of translation. He pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).<br /> <br /> The equivalence in “dynamic equivalence” includes four aspects—lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, we should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural reaction of the source language in the target language(Guo Jianzhong, 2000).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Three Steps of Translation====<br /> Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.<br /> <br /> Firstly, we should create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully displays the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?<br /> <br /> Secondly, if meaning and culture concepts cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost not much snow in southern China all year round. Therefore, based on their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)<br /> <br /> In the translation, translators can eliminate cultural differences by changing the form of vocabularies. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and the image of “雨后春笋”. (Guo Jianzhong, 2000)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.<br /> <br /> Thirdly, if the change of form is not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Re-creation” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===''The Importance of Being Earnest'' and Its Chinese Versions===<br /> ====An Introduction of Oscar Wilde and His Works====<br /> Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).<br /> <br /> Oscar Wilde, born in Dublin, Ireland, is a “born for art” writer. He was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.<br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In this play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)<br /> <br /> Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies, revealing the hypocritical ethical concepts in Victorian era.(Wilde, 2009)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)<br /> <br /> Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Chinese Versions of The Importance of Being Earnest====<br /> =====An Overview of Its Chinese Versions =====<br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).<br /> <br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).<br /> <br /> Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared to previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).<br /> <br /> Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).<br /> <br /> From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Yu Guangzhong and His Chinese Version=====<br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). <br /> <br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections. Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.<br /> <br /> He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was first published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers but also for Chinese audiences and actors. Therefore, his translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===The Application of Functional Equivalence to Yu Guangzhong’s Version===<br /> ====Translation Strategies of Yu Guangzhong’s Version==== <br /> =====Translation of the Drama Title=====<br /> So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).<br /> <br /> So far, there are three famous versions of The Importance of Being Earnest—Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> “Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. <br /> <br /> “Functional equivalence emphasizes translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).<br /> <br /> Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Translation of Characters’ Names=====<br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.<br /> <br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but in different meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.<br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)<br /> <br /> It not only facilitated the needs of the audience but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience would be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.<br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. <br /> <br /> Yu Guangzhong translated “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. <br /> <br /> In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language remain the same.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.<br /> <br /> Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.<br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Translation of Characters’ Dialogues=====<br /> “There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.<br /> <br /> “There are many allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ======Alliteration======<br /> &quot;Many English allusions and idioms are used in Wilde’s plays&quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.<br /> <br /> (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.<br /> <br /> (1) ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.<br /> <br /> In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. <br /> <br /> (2) CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack. Here, “bitter” and “blessings” employed alliteration devices.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. <br /> <br /> Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can still benefit from them. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’ s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).<br /> <br /> An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting <br /> <br /> <br /> ======Paradox======<br /> (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor <br /> husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)<br /> 巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)<br /> Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). <br /> <br /> Paradox is a device favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed. Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.<br /> <br /> <br /> (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?<br /> CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for <br /> publication. (Wilde, 2009)<br /> 亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?<br /> 西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)<br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. <br /> <br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect. In example 4, what amused the audience was the conclusion contrary to the reasons.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)<br /> <br /> Yu Guangzhong added a Chinese conjunction “所以”. With it, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the readers will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ======Antithesis======<br /> <br /> (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)<br /> 亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)<br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. <br /> <br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators. Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty. Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).<br /> <br /> As a matter of fact, the target language seemed to be better than the source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)<br /> 劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)<br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.<br /> <br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in the target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Suggestions on Translation from Yu Guangzhong’s Version====<br /> Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.<br /> <br /> Through the analyses of Yu Guangzhong’s version, we may have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is the most popular one among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).<br /> <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is the variety of rhetorical devices. In the process of translation, Yu Guangzhong grasped this point. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). <br /> <br /> The second translation strategy is that the form can be changed properly but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning. The beauty of the original will be destroyed, too. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).<br /> <br /> For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===Conclusion===<br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). <br /> <br /> <br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we can have a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”. In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting<br /> <br /> One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.<br /> <br /> One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed but the meaning and satirical effect cannot be reduced. With these strategies, we can produce better translation. Even though we can gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===References===<br /> Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.<br /> <br /> Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.<br /> <br /> Eugene A. Nida &amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.<br /> <br /> Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.<br /> <br /> Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.<br /> <br /> Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.<br /> <br /> Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.<br /> <br /> Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.<br /> <br /> Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.<br /> <br /> Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.<br /> <br /> Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.<br /> <br /> Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.<br /> <br /> Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.<br /> <br /> Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.<br /> <br /> Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.<br /> <br /> Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.<br /> <br /> Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.<br /> <br /> Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> =Applicaton of Translation Theories=<br /> ==Study of Application of Interpretive Theory in Interpretation 韩宛真 Han Wanzhen 202020080603== <br /> <br /> ===Abstract===<br /> With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. <br /> <br /> With the development of economic globalization,exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand.The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice. Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:58, 16 December 2020 (UTC)<br /> <br /> ===Key words===<br /> interpretive theory; interpretation,; translation strategies<br /> <br /> ===题目===<br /> 释意理论指导下的口译<br /> <br /> ===摘要===<br /> 随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。<br /> <br /> ===关键词===<br /> 释意理论；口译；翻译策略<br /> <br /> ===1.Introduction===<br /> In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.<br /> <br /> ===1.1 Introduction of Interpretive Theory===<br /> The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. <br /> <br /> The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)<br /> <br /> The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &quot;meaning&quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.(Kong Shaohui 2009, 127)<br /> <br /> The first is the implied meaning(implictit), which means that the speaker actually wants to experess the meaning: the second is explicit, which the speaker actually says content.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &quot;implied meaning&quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. <br /> <br /> Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.<br /> <br /> The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can<br /> understand:The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &quot;thought that has not been expressed in words&quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.<br /> <br /> understanding: the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and though contend to be expressed, this stage is called interpretation of discourse. --[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &quot;de-verbalization&quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.<br /> <br /> The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.<br /> <br /> In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)<br /> <br /> ===1.2 Introduction of Interpretation===<br /> Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.<br /> Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.<br /> <br /> There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &quot;lightning thinking&quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &quot;simultaneous interpretation&quot; is almost impossible). (Ouyang Changyi 2010)<br /> <br /> Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &quot;simultaneous interpretation is a half-expert in any field.&quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)<br /> <br /> ===2. Literary Review===<br /> No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.<br /> <br /> ===2.1 The Research on Interpretive Theory===<br /> Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.<br /> <br /> The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &quot;interpretive&quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. <br /> <br /> At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. <br /> <br /> Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.<br /> <br /> It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.<br /> <br /> ===2.2 The Research on Interpretation under the Guide of Interpretive Theory===<br /> <br /> Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. <br /> <br /> With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.<br /> <br /> First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &quot;One Belt One Road&quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &quot;Black Technology&quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.<br /> <br /> On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.<br /> The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.<br /> <br /> ===3.Translation Strategies based on Interpretive Theory===<br /> Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.<br /> <br /> Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> ===3.1 Free Translation===<br /> <br /> The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。<br /> Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.<br /> &quot;而立之年&quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.<br /> 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。<br /> Translation: FOCAC is a valuable asset for China and Africa.<br /> &quot;金字招牌&quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.<br /> <br /> ===3.2 Addition of Message===<br /> <br /> Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。<br /> Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.<br /> In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.<br /> 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。<br /> Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.<br /> From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.<br /> <br /> ===3.3 Positive and Negative Translation===<br /> <br /> As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:<br /> 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。<br /> Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.<br /> The sentences in the source text are all expressed by the negative &quot;cannot&quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.<br /> 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。<br /> Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.<br /> The source text is a negative sentence containing the negative “cannot&quot; when translated into English. The translator is telling the truth, the translation is &quot;at least&quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.<br /> <br /> ===Conclusion===<br /> <br /> In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.<br /> <br /> The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. <br /> <br /> Translators should use translation strategies flexibly.The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)<br /> <br /> The interpretive theory is the hypothesis of &quot;beyond the shell of the source language&quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &quot;out of&quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)<br /> <br /> In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &quot;departure from the source language&quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&quot;(Lederer 2001, 45-50)<br /> <br /> In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> ===References===<br /> *Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &quot;Interpretive theory.&quot;: 1. <br /> <br /> *Dougherty, Ray C. (1969). &quot;An interpretive theory of pronominal reference.&quot; Foundations of Language: 488-519.<br /> <br /> *Gong Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.<br /> <br /> *Jackendoff, Ray S. (1969). &quot;An interpretive theory of negation.&quot; Foundations of language: 218-241.<br /> <br /> *Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.<br /> <br /> *Lederer Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.<br /> <br /> *Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.<br /> <br /> * Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.<br /> <br /> * Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]<br /> <br /> * Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.<br /> <br /> *Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.<br /> <br /> *Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.<br /> <br /> ='''Theory and Practise'''=<br /> <br /> <br /> ==The Development of Translation in Chinese Buddhist Scriptures 陈佳欣 Chen Jiaxin 202020080593==<br /> <br /> ===Abstract===<br /> The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.<br /> <br /> ===Keywords ===<br /> Buddhist scriptures, Translation, Literal translation, Free translation<br /> <br /> ===摘要===<br /> 佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。<br /> <br /> ===关键词===<br /> 佛经，翻译，直译，意译<br /> <br /> ===Introduction===<br /> Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time. About the first century AD Buddhism entered China along trade routes from Central Asia. Thus, the translation of Buddhist scriptures came into being. Buddhism was widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.<br /> <br /> During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the form similarity and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. “The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation” (Sun Shanshan 2014, 174).<br /> <br /> In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three period. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposed that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposed to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang held that translation “must be truthful and intelligible to the populace”.<br /> <br /> === The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===<br /> The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.<br /> <br /> ==== An Shigao ====<br /> An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He totally translated 35 Buddhist Scriptures, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).<br /> <br /> ==== Zhi Chen ====<br /> Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. <br /> <br /> ==== Zhi Qian ====<br /> Zhi Qian, also known as Zhi Yue, is a Buddhist scripture translator during the Three Kingdoms period. He is the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignore the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. <br /> <br /> (2)The mainstream translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures. On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore then can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.<br /> <br /> (3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.<br /> <br /> === the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===<br /> The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.<br /> <br /> ====Shi Daoan ====<br /> Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he is also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. <br /> <br /> “‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&quot;Three Difficulties in Translation&quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.<br /> <br /> The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.<br /> <br /> ==== Kumarajiva ====<br /> Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &quot; the first class master of translation&quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He is one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translates 39 volumes. He is proficient in both Chinese and Sanskrit languages, and advocates that as long as the translation does not violate the original meaning, there is no need to follow the original form. “Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &quot;geyi&quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992, 186). He argued that “geyi” is the culprit of the deformation of India Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25). <br /> <br /> Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness. Another remarkable achievement is his contribution to the translation workshop. After he arrived Chang'an, he began to organize translation workshops. Under his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).<br /> <br /> (2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads）are usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China，translators can take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there are more Sanskrit texts, they have more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.<br /> <br /> (3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.<br /> <br /> (4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).<br /> <br /> === Tang Dynasty ===<br /> The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously. In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age is Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.<br /> <br /> ==== Xuang Zang ====<br /> Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &quot; Sanzang Rabbi.&quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses, the number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).<br /> <br /> In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &quot;Doroni&quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &quot;bhaga&quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &quot;jumbu tree&quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &quot;Aunt Bodhi&quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &quot;prajna&quot; respect, &quot;wisdom&quot; is light and shallow. “The word &quot;Untranslatable&quot; here does not mean not translating, but rather &quot;not intended to translate&quot;, using transliteration”( Jian Xue 2018, 28).<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translators are mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also has a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who are proficient in Sanskrit has gradually increased, and the translation work does not need to turn to foreign monks.<br /> <br /> (2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation programs possible.<br /> <br /> (3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty is more all-sided in organization. “According to records, The translation workshop of the Tang Dynasty has as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them are rabbis appointed by the court.<br /> <br /> (4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.<br /> <br /> (5) The translation scripts are more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believes that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.<br /> <br /> === The Influence of the Translation of Buddhist Scriptures ===<br /> The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> The influence of Buddhist scripture translation on Chinese is mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.<br /> <br /> “In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&quot;, &quot;Sutra” etc; some are words that we don’t realize, such as &quot;memory&quot;, &quot;world&quot;, &quot;now&quot;, &quot;causality&quot;, &quot;attachment&quot;, &quot;emptiness&quot;, &quot;reality&quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).<br /> <br /> The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to be the main motive.<br /> <br /> In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.<br /> <br /> === Conclusion ===<br /> The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.<br /> <br /> The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.<br /> The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation<br /> <br /> === References ===<br /> Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223<br /> <br /> Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308<br /> <br /> Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.<br /> <br /> Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University <br /> <br /> Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.<br /> <br /> Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.<br /> <br /> Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. <br /> <br /> Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press<br /> <br /> Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &quot;Five Losses of Source Texts and Three Difficulties in Translation&quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.<br /> <br /> WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.<br /> <br /> Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.<br /> <br /> Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.<br /> <br /> He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.<br /> <br /> Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.<br /> <br /> Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.<br /> <br /> Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.<br /> <br /> ==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts'' 成于思 Cheng Yusi 202020080598 比较文学与跨文化研究==<br /> <br /> ==='''Abstract'''===<br /> André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the paper is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the paper will make a comparison of these two books to deepen readers' understanding of them.<br /> <br /> ===Key words===<br /> André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative Study of Chinese and Western Translation Principles'', “cultural turn”, John Dryden, translation principles<br /> <br /> ===题目===<br /> 《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析<br /> <br /> ===摘要===<br /> 安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。<br /> <br /> ===关键词===<br /> 安德烈·勒菲弗尔,《翻译，历史和文化论集》，刘宓庆，《中西翻译思想对比研究》，文化转向，约翰·德莱登，翻译原则<br /> <br /> ===1.Introduction===<br /> This paper presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, this paper is intended to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This paper will be divided into three parts.<br /> <br /> In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden compares a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.<br /> <br /> In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden's comparison of the translator and slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of Western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:56, 18 December 2020 (UTC)<br /> <br /> In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72) Finally, the author will show some scholars’ appraisals of this book.<br /> <br /> In part three, it intends to give a brief comparison of these two books in contents and forms.<br /> <br /> All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.<br /> <br /> ===2. Analysis of ''Translation, History and Culture: A Sourcebook''===<br /> <br /> ''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&quot;(Munday 2016,199) As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &quot;cultural turn&quot; of translation proposed by Translation Studies. <br /> <br /> In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &quot;a rewriting of an original text&quot;. Here, they explained that &quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&quot; (Lefevre 2003, xi) According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. <br /> <br /> In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii) <br /> <br /> Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &quot;cultural turn&quot;. The &quot;cultural turn&quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &quot;cultural turn&quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)<br /> <br /> If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &quot;cultural turn&quot;, Translation, History and Culture: A Sourcebook, with abundant case studies, is proved to be a good illustration of their thoughts. <br /> <br /> If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &quot;cultural turn&quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)<br /> <br /> The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. <br /> <br /> I enjoy reading this book because it brings us and those aloof and remarkable scholars more closer. After reading their original words, they seem to appear fresh before our eyes and narrate their feelings of being translators to us themselves. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&quot;. (Lefevere 2003, 47) <br /> <br /> In this part, I will analyze John Dryden's three types of translation and his comparison of &quot;author and translator&quot; to &quot;master and slave&quot; through the excerpts collected in Translation, History and Culture: A Sourcebook. (Lefevere 2003, 24;102-105)<br /> <br /> Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2) The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &quot;author and translator&quot; to &quot;master and slave&quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii) Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.<br /> <br /> Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102)<br /> <br /> In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102) <br /> <br /> Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating the poem in such a way is like &quot;dancing on ropes with fettered legs&quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)<br /> <br /> Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&quot;.(Lefevere 2003, 103) <br /> <br /> As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103)<br /> <br /> Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. &quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&quot;.(Lefevere 2003, 104)<br /> <br /> It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &quot;he may stretch his chain to such a latitude&quot;.(Lefevere 2003, 105) In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. <br /> <br /> Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)<br /> <br /> However, in Chapter Two, in &quot;Dedication&quot; to his translation of the Aeneid, Dryden argued that &quot;We are bound to our author's sense, though with the latitudes already mentioned&quot;.(Lefevere 2003, 24). He compared a translator to a slave and drudged to express his views on the role of translators. &quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&quot; (Lefevere 2003, 24)<br /> <br /> Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies. (Niu Yunping, 2014) <br /> <br /> Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars such as Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014) --[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &quot;classical writers&quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)<br /> <br /> A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &quot;classical writers&quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73) <br /> <br /> About the value of this book, Translation, History and Culture: A Sourcebook is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)<br /> <br /> About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:36, 18 December 2020 (UTC)<br /> <br /> ===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===<br /> <br /> In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &quot;Sixiang&quot; (&quot;thought&quot; in Chinese) refers to &quot;principle&quot; in the West in this book. (Liu Miqing 2005, 2) <br /> <br /> In the FAQ passage, the author explained why he wrote this book. &quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&quot;(Liu Miqing 2005, i) It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. <br /> <br /> Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)<br /> <br /> The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30) The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33) <br /> <br /> He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43)<br /> <br /> The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39)<br /> <br /> Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150)<br /> <br /> Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &quot;emphasis on meaning&quot; and establish a new concept of &quot;emphasis on the meaning in communication&quot; (Liu Miqing 2005,179) <br /> <br /> The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288)<br /> <br /> However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)<br /> <br /> However, he also recognized that the 1960s to 1970s has witnessed great progress in Western translation theory. Liu divides Western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the forms and the effects of communication, the functions of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> Finally, Liu points out that western translation theory is &quot;technology-oriented&quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)<br /> <br /> Finally, Liu points out that Western translation theory is &quot;technology-oriented&quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the superficial, assertive and rational current views and remarks on theory; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &quot;translation and language game&quot;, Liu puts forward that &quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402)<br /> <br /> Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i) This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44)<br /> <br /> Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflects the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)<br /> <br /> Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread throughtout China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflect the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &quot;all is vanity&quot;, &quot;being detached from worldly affairs&quot; and &quot;obedience&quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987) <br /> <br /> In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still touched by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)<br /> <br /> In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still struck by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features change from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but cleared the way to economic growth as well. Meanwhile, integrated translation paved the way for European integration. (Liu Miqing 2005, 101) <br /> <br /> As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the Western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but also cleared the way to economic growth as well. Meanwhile, integrated translation has paved the way for European integration. (Liu Miqing 2005, 101) --[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> The second characteristic of the tradition of Chinese translation is &quot;regulation to perfection&quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51) <br /> <br /> The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101) Moreover, Western translation principles give priority to &quot;Communicative Translation&quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104)<br /> <br /> The third characteristic is &quot;the focus on meaning as well as aesthesis&quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52)<br /> <br /> Wang Guowei pointed out that the word &quot;Nao&quot; in the verse &quot;Hong Xing Zhi Tou Chun Yi Nao&quot; conveys the Jingjie of the whole poem. (Wang Guowei 2017,15) Therefore, if one attempts to translate the poem, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility. It expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)<br /> <br /> Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006)<br /> <br /> Lu Wei and Li Defeng shed light on the topic &quot;translation theories with Chinese characteristics&quot; and argued that Liu Miqing's A Comparative Study of Chinese and Western Translation Principles provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)<br /> <br /> Lu Wei and Li Defeng shed light on the topic &quot;translation theories with Chinese characteristics&quot; and argued that Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'' provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> ===4. Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===<br /> <br /> ===4.1 From the aspect of the content===<br /> Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. <br /> <br /> Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracts other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)<br /> <br /> ===4.2 From the aspect of the arrangement===<br /> Both of these two books are arranged in theme, rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. The longer essays are collected in the last chapter. Liu arranges his book differently.<br /> <br /> Both of the two books are arranged in a theme way rather than a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation plays in education, and the translating technique. Liu arranges his book differently for the longer essays are collected in the last chapter.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:07, 18 December 2020 (UTC)<br /> <br /> Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', including the characteristics, origins, schools and limitations of Chinese and western translation, Liu not only quotes other’s statement, he applies many tables to demonstrate his thoughts, which helps the readers better understand translation principles.<br /> <br /> Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', which includes the characteristics, origins, schools and limitations of Chinese and Western translation, Liu not only quotes other’s statement, he also applies many tables to demonstrate his thoughts, which help the readers to better understand the translation principles.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:26, 18 December 2020 (UTC)<br /> <br /> ===Conclusion===<br /> In conclusion, the paper is intended to help readers to understand these two books in depth. After a brief introduction of these two books, it analyzes John Dryden’s three types of translation and his comparison of translator to slave and figures out the reason for the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learns translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.<br /> <br /> In conclusion, the paper intends to help readers to have a profound understanding of the two books. After a brief introduction of these two books, there follows the analysis of John Dryden’s three types of translation and his comparison of translator to slave as well as the figuring out of the reason of the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learn translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:37, 18 December 2020 (UTC)<br /> <br /> ===References===<br /> André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp; Francis e-library.<br /> <br /> André Lefevere &amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;New York: Pinter Publishers.<br /> <br /> Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.<br /> <br /> Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.<br /> <br /> Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp; Francis Group.<br /> <br /> Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp; Publishing Corporation中国对外翻译出版公司.<br /> <br /> Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp; Technology Translators Journal 23(02):11-14+29.<br /> <br /> Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.<br /> <br /> Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.<br /> <br /> Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.<br /> <br /> Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> ==The development and future trend of translation Theory 张慧 Zhang Hui 202070080622 英语笔译==<br /> <br /> ===Abstract===<br /> This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.<br /> ===Key Words===<br /> Chinese and Western, translation theory, development, trend<br /> ===摘要===<br /> 本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。<br /> ===关键词===<br /> 中西方，翻译理论，发展，趋势<br /> ===Introuction===<br /> Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.<br /> <br /> Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)<br /> ===The Four Periods of Development of Chinese Translation Theory===<br /> <br /> Ancient Translation Period<br /> <br /> The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）<br /> <br /> Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &quot;seeking the truth&quot; and &quot;using the vulgar&quot; in the translation process. He also established the principle of &quot;five not to turn,&quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）（quotation missing）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> Translation of the Late Qing Dynasty and Early Republic of China<br /> <br /> A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）<br /> <br /> Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）<br /> <br /> Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）<br /> <br /> His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）（paragraph too long）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.<br /> <br /> Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: <br /> <br /> (1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.<br /> <br /> Translation Theory in the Republic of China<br /> <br /> Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &quot;shenyun translation&quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）<br /> <br /> Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）<br /> <br /> After the Founding of the People’s Republic of China<br /> <br /> The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）<br /> <br /> Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）<br /> ===Prospects for the Development of Contemporary Chinese Translation Theory===<br /> <br /> Emphasis on the study of basic translation theory <br /> <br /> Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> “Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). <br /> <br /> In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). <br /> <br /> Innovation of ontology<br /> <br /> Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) <br /> <br /> Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> ===The Historical Development of Western Translation Theory and Its Classification===<br /> <br /> Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. <br /> <br /> The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)<br /> <br /> <br /> The School of Thought and the Main Characteristics of Western Translation Theory<br /> <br /> Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.<br /> <br /> Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. <br /> <br /> The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. <br /> <br /> These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. <br /> <br /> Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. <br /> <br /> Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. <br /> <br /> The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)<br /> <br /> The Response of Western Translation Theory in China’s Translation Industry<br /> <br /> As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. <br /> <br /> Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)<br /> <br /> ===Analysis of Theoretical Research Status===<br /> <br /> Descriptive Analysis of Translation Theory Research<br /> <br /> First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)<br /> <br /> Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.<br /> Third, researchers and institutions. <br /> <br /> The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)<br /> Systematic Analysis of Translation Theory Research<br /> <br /> First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.<br /> <br /> Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.<br /> <br /> Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.<br /> <br /> Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. <br /> <br /> Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. <br /> <br /> This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.<br /> <br /> Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).<br /> <br /> The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. <br /> <br /> The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.<br /> <br /> ===Trends in Translation Theory Research===<br /> <br /> Interdisciplinary cooperation and integration<br /> <br /> Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. <br /> <br /> In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）<br /> <br /> Return to culture development<br /> <br /> The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.<br /> <br /> Seeking Common Ground while Surviving Differences in Cultural Translation<br /> <br /> Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）<br /> <br /> ===Conclusion===<br /> <br /> From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.<br /> <br /> ===References===<br /> <br /> [1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.<br /> <br /> [2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.<br /> <br /> [3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.<br /> <br /> [4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.<br /> <br /> [5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.<br /> <br /> [6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.<br /> <br /> [7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.<br /> <br /> [8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.<br /> <br /> [9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.<br /> <br /> [10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.<br /> <br /> [11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.<br /> <br /> ==A Cultural Critique of Foreignization and Domestication 吴子佳 Wu Zijia 202070080645==<br /> <br /> 吴子佳 Wu Zijia 202070080645<br /> <br /> ==='''Abstract'''===<br /> Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.<br /> <br /> ==='''Key words'''===<br /> <br /> Domestication foreignization cultural-overloaded words cross-cultural communication.<br /> <br /> ==='''摘要'''===<br /> <br /> 归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。<br /> <br /> ==='''关键词'''===<br /> <br /> 归化，异化，文化负载词，跨文化交流<br /> <br /> <br /> ===''' Introduction of Domestication and Foreignization '''===<br /> <br /> Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）<br /> <br /> On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.<br /> Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）<br /> <br /> For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku）<br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞” cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku）<br /> <br /> ==='''Analysis on Culture Differences in Translation'''===<br /> <br /> Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. <br /> <br /> Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）<br /> <br /> So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &quot;dog&quot; is mostly unpleasant, so the metaphor of &quot;dog&quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）<br /> <br /> On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &quot;dog&quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）<br /> <br /> Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &quot;rice&quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &quot;bread and butter,&quot; &quot;big potato&quot;,”hot potato” and &quot;couch potato.&quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）<br /> <br /> ===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===<br /> <br /> 1. Practice of foreignization and domestication in tourism culture<br /> <br /> The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)<br /> <br /> Example 1:<br /> <br /> 路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字<br /> To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))<br /> Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> Example 2<br /> <br /> 云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。<br /> Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.<br /> Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> <br /> Example 3<br /> <br /> 花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)<br /> 孤山: Gushan (Solitary Hill) <br /> 湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。<br /> Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”<br /> Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> <br /> Example 4 <br /> <br /> Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> Example 5<br /> <br /> 她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。<br /> It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.<br /> The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> Example 6<br /> <br /> 四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。<br /> Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. <br /> By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> 2. Practice of Foreignization and Domestication in Food Culture<br /> <br /> With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）<br /> <br /> For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）<br /> <br /> Example 7<br /> <br /> 番茄牛腩(tomato and beef brisket)<br /> This translation consists of main ingredient and ingredient.<br /> 砂锅面(casserole noodles)<br /> This translation consists of utensils and ingredients.<br /> 淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)<br /> This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.<br /> 炒酸菜, 手抓饼(sauerkraut, shredded cake)<br /> This translation consists of the cooking method or eating method and ingredients.<br /> Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）<br /> <br /> Example 8<br /> <br /> 蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)<br /> This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.<br /> 霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)<br /> This translation is named after historical allusions.<br /> 驴打滚 (打糕) :Donkey roll (beating cake)<br /> This translation is named according to the production process metaphor. <br /> 佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).<br /> This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）<br /> <br /> Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.<br /> <br /> Example 9<br /> <br /> “叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &quot;Baked Chicken&quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)<br /> <br /> <br /> If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)<br /> <br /> Example 10<br /> <br /> Some foods are usually translated in the form of &quot;Hanyu Pinyin + English notes&quot; in order to retain certain characteristics.<br /> For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）<br /> <br /> For example, &quot;豆腐&quot; translates as &quot;Toufu&quot;; &quot;馄饨&quot; translates as &quot;Wonton&quot;. The translation of四一丸子:&quot;Four Happy Meatballs&quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）<br /> <br /> 3. Practice of Foreignization and Domestication in Diplomacy<br /> <br /> Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）<br /> <br /> Example 11<br /> <br /> 我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。<br /> What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.<br /> In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）<br /> <br /> Example 12<br /> <br /> “投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）<br /> To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.<br /> This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）<br /> <br /> Example 13<br /> <br /> 耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）<br /> &quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.<br /> This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）<br /> <br /> Example 14<br /> <br /> “滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）<br /> <br /> &quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.<br /> This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）<br /> <br /> Example 15<br /> <br /> 我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）<br /> <br /> If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&quot;稻草、吸管&quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）<br /> <br /> ===''' Conclusion '''===<br /> <br /> Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.<br /> <br /> ===''' References '''===<br /> <br /> * Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.<br /> * Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.<br /> * Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.<br /> * Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.<br /> * Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.<br /> * Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.<br /> * Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.<br /> * Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.<br /> <br /> ='''Contemporary Translation Studies'''=<br /> <br /> <br /> ==A Study On the Influence of Linguistics on the Construction of Translatology 孔祥慧 Kong Xianghui 202020080608==<br /> &lt;center&gt;孔祥慧 Kong Xianghui &lt;/center&gt;<br /> ==='''Abstract'''===<br /> Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .<br /> <br /> ==='''Key words'''===<br /> Translatology;Linguistic;Discipline Construction<br /> <br /> ===摘要===<br /> 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。<br /> <br /> ===关键词===<br /> 翻译学；语言学；学科构建<br /> <br /> ==='''1.Introduction'''===<br /> Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）<br /> <br /> For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）<br /> <br /> This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.<br /> <br /> ==='''2.Literature review '''===<br /> This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. <br /> <br /> '''2.1Studies on the construction of translatology aboard'''<br /> <br /> In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)<br /> <br /> Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.(Eugene Nida, 1947)<br /> <br /> J.C. Catford in his book ''A Linguistic Theory of Translation'' (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.(J.A Catford , 1965)<br /> <br /> Holmes published ''The Name and Nature of Translation Studies'' at The Third International Conference on Applied Linguistics in 1972, which was &quot;widely regarded as the founding declaration of the discipline of translation studies&quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.( James Holmes,1975)<br /> <br /> In 1982, Wolfram Wilss published ''the Science of Translation: Problems and Methods'', clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.(Wolfram Wilss, 1982)<br /> <br /> Newmark is also a representative figure in the field of translation. In his book ''Exploration of Translation'' (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.( Peter Newmark, 1981)<br /> <br /> Hatim &amp; Mason, whose representative work is ''Discourse and the Translator'' (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.(Hatim &amp; Mason,1990 )<br /> <br /> Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.(Christiane Nord, 1997)<br /> <br /> Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published ''Translation and Conflict'': A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.(Mona Baker, 2006)<br /> <br /> '''2.2 Studies on the construction of translatology at home'''<br /> <br /> In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology in China made great progress. （Tan Zaixi，1989）<br /> <br /> In 1951, Dong Qius, a famous Chinese translator, published his article ''On the Construction of Translation Theory''. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.(Dong Qiusi, 1951)<br /> <br /> In 1987, Tan Zaixi clearly put forward the view that &quot;translation studies are an independent subject&quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)<br /> <br /> In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published ''On Approaches to Translation Studies''. In this paper, Tan mainly distinguished two concepts of &quot;translation&quot; and &quot;translatology&quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.(Tan Zaixi, 1987)<br /> <br /> In the thesis ''An Overview of Western Translation Theory'' (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)<br /> <br /> In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.(Liu Miqing, 1989)<br /> <br /> In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.(Liu Zhongde, 1995)<br /> <br /> At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.( Zhang Meifang, 2005) (Huang Guowen, 2006)<br /> <br /> Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). （Lv Jun，2002）<br /> <br /> Subsequently, Lu published ''Constructing The Linguistic Basis of Translation Studies'' (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)<br /> <br /> Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.(Li Zhenguo ,2017)<br /> <br /> Yi Jing published his doctoral thesis ''On The Construction of Translation Studies'' (2009), which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis ''On The Construction of Translation Studies'' in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.(Yi Jing, 2009)<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. (Zhang Boran,2008) (Yi Jing,2012) <br /> <br /> Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. (Zhao Wenting,2016)<br /> <br /> <br /> Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.(Zou Bing and Mu Lei, 2020) <br /> <br /> In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in ''Translation View in Cognitive Linguistics'' proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition.(Wang Yin,2017)<br /> <br /> Later, many scholars have studied the relationship between cognitive linguistics and translation.Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.(Fan Xiangtao and Lu Bixiao , 2019)<br /> <br /> Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)<br /> <br /> Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)<br /> <br /> From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.<br /> <br /> ==='''3.The Construction of Translatology '''===<br /> <br /> In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.（Yang Zijian，1993）<br /> <br /> '''3.1Translation and Translatology'''<br /> <br /> &quot;Translation&quot; and &quot;translatology&quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)<br /> <br /> In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &quot;translatology&quot; is used to refer to translation studies.&quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&quot;.（Liu Zhongde，1995）<br /> <br /> Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.( Kong Xiangli,2009)<br /> <br /> '''3.2 Three Stages of Translatology'''<br /> <br /> Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies. (Liu Zhongde,1989)<br /> <br /> '''3.2.1 Early translation practice'''<br /> <br /> Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.(Yi Jing,2009)<br /> <br /> The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)<br /> <br /> '''3.2.2 The awareness of an academic discipline'''<br /> <br /> Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &quot;translation must become an independent discipline&quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.(Tan Zaixi, 1987 )<br /> <br /> Such a group of people also appeared in modern China. Lin Yutang used the word &quot;translation studies&quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）<br /> <br /> '''3.2.3 The rapid development stage of translation studies'''<br /> <br /> Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018)<br /> <br /> Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.（Wikipedia）<br /> <br /> ==='''4.The Influence of Linguistics on the Construction of Translatology'''===<br /> <br /> For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.(Zou Bin, Mu Lei, 2020 )<br /> <br /> 4.1 Contributions of early linguists to translation<br /> <br /> As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )<br /> <br /> Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &quot;signifier&quot; and &quot;signified&quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. (Yi Jing, 2009 ) <br /> <br /> Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）<br /> <br /> These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )<br /> <br /> 4.2 Translation studies based on linguistic theory<br /> <br /> In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.(Zou Bin, Mu Lei,2020 )<br /> <br /> 4.2.1 The influence of Structuralist linguistics<br /> <br /> Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &quot;pure linguistic forms&quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.(Lvjun，2004)<br /> <br /> Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &quot;the science of translation&quot; and &quot;dynamic equivalence/Functional equivalence&quot;. Nida 's translation theory has had a great influence in the West and China. ( Yi Jing, 2009)<br /> <br /> Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &quot;six-level equivalence theory&quot; .(Yi Jing,2012)<br /> <br /> Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.（Zou Bin,Mu Lei,2020)<br /> <br /> 4.2.2 The influence of discourse linguistics<br /> <br /> For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002）<br /> <br /> Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics.(Yi Jing, 2009 )<br /> <br /> The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）<br /> <br /> 4.2.3 The influence of contemporary linguistics<br /> <br /> As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）<br /> <br /> Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.(Liao Qiyi， 2000)<br /> <br /> 4.3 The experience of the construction of linguistics<br /> <br /> In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.(Kong Xiangli，2009 )<br /> <br /> 4.4.1 Discipline development<br /> <br /> Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.（Kong Xiangli，2009）<br /> <br /> The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.(Kong Xiangli，2009 )<br /> <br /> 4.4.2 Discipline structure<br /> <br /> Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.(Yang Zijian,1993)<br /> <br /> From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）<br /> <br /> 4.4.3 Development Trend of discipline<br /> <br /> Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.<br /> In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）<br /> <br /> ==='''5.Conclusion'''===<br /> Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. ( Zou Bin, Mu Lei,2020)<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&quot; Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.(Liu Miqing, 1989)<br /> <br /> ==='''References'''===<br /> Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.<br /> <br /> Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.<br /> <br /> Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''<br /> <br /> Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.<br /> <br /> Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. ''当代语言学''[Modern Linguistic] 3-5.<br /> <br /> Fang Xiangtao,Lu Bixiao. (2019). 范祥涛,陆碧霄.认知翻译研究的观念和方法. [Concepts and Methods of Cognitive Translation Studies]. ''外语教学''[Foreign Language Education] 8-12.<br /> <br /> Huang Guowen. 黄国文. (2006). 关于翻译研究语言学探索的几个问题. [Questions about the Linguistic Exploration of Translation Studies]. ''外语艺术教育研究''[Educational Research on Foreign Languages &amp; Arts] 35-41.<br /> <br /> Kong Xiangli. 孔祥立. (2009). 中国翻译学学科建设论. [On the subject construction of Chinese Translation Studies]. 上海外国语大学[Shanghai International Studies University].<br /> <br /> Li Yan, Feng Huali. 李艳,冯华丽.(2020) 国内基于语料库的翻译研究二十年综述(1999—2018). [A review of 20 Years of Corpus-based Translation Studies in China(1999—2018)]. ''成都理工大学学报(社会科学版)'' [Journal of Chengdu University of Technology(Social Science) ]105-110.<br /> <br /> Liu Miqing. 刘宓庆. (1989). 西方翻译理论概评. [An Overview of Western Translation Theory]. ''中国翻译''[Chinese Translators Journal] 2-6.<br /> <br /> Liu Zhongde. 刘重德. (1998). 关于建立翻译学的一些看法. [Views on the Establishment of Translation Studies]. ''外国语(上海外国语大学学报)'' [Foreign Languages (Journal of Shanghai International Studies University)] 27-31+60.<br /> <br /> Lv Jun. 吕俊. (2004). 建构翻译学的语言学基础. [The Linguistic Basis of Translation studies]. ''外语学刊''[Foreign Language Research] 96-101.<br /> <br /> Liao Qiyi. 廖七一. (2000). 语料库与翻译研究[Corpus and Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 380-384.<br /> <br /> O Aiping. 欧爱萍.(2012). 浅谈语言学对翻译学科的影响. [A Brief Discussion on the influence of Linguistics on translation]. ''中外企业家''[Chinese and Foreign Entrepreneurs] 179-180.<br /> <br /> Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.<br /> <br /> Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.<br /> <br /> Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.<br /> <br /> Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.<br /> <br /> Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.<br /> <br /> Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].<br /> <br /> Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.<br /> <br /> Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.<br /> <br /> Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.<br /> <br /> Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.<br /> <br /> Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.<br /> <br /> ==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658==<br /> <br /> ==='''Abstract'''===<br /> <br /> With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.<br /> <br /> ==='''Key words'''===<br /> <br /> Translation Studies, translation education, translation talents<br /> <br /> ==='''题目'''===<br /> <br /> 对中国翻译学学习的反思<br /> <br /> ==='''摘要'''===<br /> <br /> 随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析学习翻译学科目前存在的问题，并提出相关的建议。 <br /> <br /> ==='''关键词'''=== <br /> <br /> 翻译学，翻译教育，翻译人才<br /> <br /> <br /> ==='''1. Introduction'''===<br /> <br /> 1.1. The Connotation of Translation Studies<br /> <br /> Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &quot;''The Name and Nature of Translation Studies''&quot;, is a basic statement of translation studies: it calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, including comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.<br /> <br /> Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. <br /> <br /> Translation Studies can examine the practice and background of translating professional texts (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. <br /> <br /> Learning these contents enables students to apply their theoretical understanding to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually include the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills needed to solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.<br /> <br /> 1.2. The Significance of Translation Study<br /> <br /> With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. At the same time, as today's multicultural and multilingual society requires effective, efficient and understanding communication between languages and cultures, translation skills have become more and more important and desirable. <br /> <br /> As a science, Translation Studies has always had its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. <br /> <br /> Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can understand the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. This is also the necessity for translators to learn Translation Studies.<br /> <br /> ==='''2. The Development Process of Translation Studies in China'''===<br /> <br /> Translation activities has appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, the flourishing period of Translation Studies.<br /> <br /> 2.1. The Exploration Period of Translation Studies <br /> <br /> In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, Almost no. What we have are some translation regulations and fragments of experience for temporary reference.&quot; He clearly called for the establishment of &quot;a complete translation theory system&quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. <br /> <br /> The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared in history.<br /> <br /> However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have become increasingly single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc.<br /> <br /> At that time, because a large number of people who understand foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to strengthen foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under foreign language and literature, but the distinction between translation teaching and language teaching has gradually become clear.<br /> <br /> 2.2. The Development Period of Translation Studies<br /> <br /> At the beginning of this period, it was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. <br /> <br /> At this stage, some masters and doctors in translation studies joined the construction team translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation desperately. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of &quot;''China Translator''&quot; in 2004 come to congratulate.<br /> <br /> Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.(Huang Zhongqian, Zhang Xiao 2020) Translation research ideas, methods, space and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.<br /> <br /> 2.3. The Flourishing Period of Translation Studies<br /> <br /> In 2011, the Ministry of Education adjusted the discipline catalog and listed &quot;Translation Studies&quot; as a second-level subject under the first-level discipline of &quot;Foreign Languages and Literature&quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction. <br /> <br /> <br /> In the flourishing period, the construction of translation disciplines and the development of translation majors in China have shown a new look. Many levels have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training. <br /> <br /> There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.<br /> <br /> ==='''3. Challenges of Learning Translation Studies in China'''===<br /> <br /> The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. China's translation discipline has now entered a new stage, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.<br /> <br /> 3.1. Translation Education<br /> <br /> With the establishment of the status of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the training of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better. <br /> <br /> However, China's translation education started and developed after the reform and opening up, is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, and systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.<br /> <br /> 3.1.1. Orientation of the Cultivation of Translation Talents<br /> <br /> At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to the unclear concept of the cultivation of translation talents. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation professional teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market. (Zhong Weihe 2019)<br /> <br /> Due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.<br /> <br /> 3.1.2. Faculty Resources<br /> <br /> The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. The problem of translation teachers has always been a bottleneck problem that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. <br /> <br /> Recent evaluation data show that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &quot;''National Standard of Part-time Teacher in MTI Education'' &quot;. (Zhong Weihe 2019) In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.<br /> <br /> 3.1.3. Teaching method<br /> <br /> Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2020) <br /> <br /> This kind of teaching method that ignores student autonomy is entirely a teacher-centered teaching model, which will place too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.<br /> <br /> 3.1.4 Translation Teaching Research<br /> <br /> The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is rare. <br /> <br /> Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play.(Bo Zhenjie, Li Heqing 2011) However, combining actual translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but not deep into the actual situation.<br /> <br /> 3.2. Students<br /> <br /> The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.<br /> <br /> 3.2.1. Low level of commitment to translation learning<br /> <br /> Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. <br /> <br /> Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. <br /> <br /> As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between the word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.<br /> <br /> 3.2.2. Insufficient background knowledge <br /> <br /> Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not grasp sufficient background information. <br /> <br /> With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. (Xie Zhentian, 2015) Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.<br /> <br /> 3.2.3. Neglect of theoretical knowledge<br /> <br /> At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）<br /> <br /> ==='''4. Suggestions for the Learning of Translation Studies'''===<br /> <br /> In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved according to the development of times. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote the development of Translation Studies in China.<br /> <br /> 4.1. Translation Education<br /> <br /> 4.1.1. Improve Teaching Mode<br /> <br /> The teaching model is an important basic guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation or current affairs. <br /> <br /> Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to make something new. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. <br /> <br /> The objective teaching method is a teaching mode that can be introduced in translation teaching. This type of mode attaches great importance to the construction of learning environment and the value of teachers' guidance to students. (Ou Yonghua 2019) This is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.<br /> <br /> 4.1.2. Strengthen Faculty Force<br /> <br /> Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. <br /> <br /> Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and first-line translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） <br /> <br /> Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)<br /> <br /> 4.1.3. Broaden the academic vision of translation<br /> <br /> Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline,which carry out the provision of roadmap for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)<br /> <br /> The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary and integration, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)<br /> <br /> 4.2. Students <br /> <br /> The quality of translation talents plays a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.<br /> <br /> 4.2.1. Expanding knowledge<br /> <br /> Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future, in addition to having a solid foundation in language ability, they should also take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills. <br /> <br /> A very good way to expand their knowledge is to improve their search ability. Search ability, specifically, refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students is urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)<br /> <br /> 4.2.2. Emphasize theory and practice more<br /> <br /> Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics, not only the translation skills and theories，but also practice more. Theories that are out of practice cannot keep up with the development of the times. <br /> <br /> Students must spend enough time in practicing. They can go to the front line of production or go deep into all aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.<br /> <br /> ==='''5.Conclusion'''===<br /> <br /> This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the concept of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Those engaged in translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and so on. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. <br /> <br /> From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.<br /> <br /> President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies were not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. <br /> <br /> Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, draw on the latest foreign translation theories, combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. (Zhong Weihe, Zhao Tianyuan 2020) The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.<br /> <br /> ==='''References'''===<br /> Holmes, James S. (1972). The Name and Nature of Translation Studies. ''Papers on Literary Translation and Translation Studies''. 67–80.<br /> <br /> Bo Zhenjie, Li Heqin.薄振杰,李和庆.(2011).关于当前中国翻译教学研究的思考.[ Reflection on the Current Research of Translation Teaching in China].外语界[''Foreign Language World''] 76-83.<br /> <br /> Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].<br /> <br /> Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.<br /> <br /> Jiang Feifei.姜菲菲.(2019).中国文化走出去背景下对翻译学科的综述. [A Summary of Translation Studies from the Background of Outputting Chinese Culture].校园英语[''English Campus'']7-8. <br /> <br /> Lan Hongjun.蓝红军.(2018)从学科自觉到理论建构:中国译学理论研究(1987-2017). [Theoretically Oriented Translation Studies in China: 1987 - 2017].中国翻译[''Chinese Translators Journal'']7-16<br /> <br /> Mu Lei, Li Xixi.穆雷, 李希希.(2019).中国翻译教育研究:现状与未来.[ Research on Translation Education in China: Status Quo and Future] .外语界[''Foreign Language World''] 24-32.<br /> <br /> Ou Yonghua.(2019).新时期中国翻译教学研究思考概述. [An Overview of Researches on Chinese Translation Teaching in the New Era].课程教育研究[''Course Education Research''] 13.<br /> <br /> Xi Jinping.习近平.(2016).在哲学社会科学工作座谈会上的讲话.[ Speech at the Symposium on Philosophy and Social Sciences].新华网[xinhuanet].<br /> <br /> Xie Zhentian.谢天振.(2015).翻译巨变与翻译的重新定位与定义——从2015年国际翻译日主题谈起.[ Great Changes in Translation and Repositioning and Definition of Translation——Starting from the theme of the International Translation Day in 2015].东方翻译[''East Journal of Translation''] 4-8. <br /> <br /> Wang Baigula.王白古拉.(2018).中国翻译教学现状与复合型翻译人才培养. [The Status Quo of Translation Teaching in China and the cultivation of Interdisciplinary Translators].文存阅刊[''Wen Cun Journal''] 87.<br /> <br /> Wang Na.王娜. (2020).MTI在校生搜索能力不足成因分析. [An Analysis of the Causes of Insufficient Searching Ability of MTI Students].海外英语[''Overseas English''] 194-195.<br /> <br /> Zhong Weihe.仲伟合.(2019).改革开放40年我国翻译专业教育:成就、挑战与发展. [China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.<br /> <br /> Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.<br /> <br /> ==The influence of translator's cultural identity on translation 周玉娟 Zhou Yujuan== <br /> &lt;center&gt;周玉娟 Zhou Yujuan 202020080674 亚非语言文学波斯语方向 .&lt;/center&gt;<br /> <br /> &lt;center&gt;The influence of translator's cultural identity on translation.&lt;/center&gt;<br /> <br /> ===Abstract===<br /> Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.<br /> <br /> ===Keywords===<br /> translation; translator; cultural identity; Shakespeare's plays<br /> <br /> ===题目===<br /> 译者文化身份对翻译的影响<br /> <br /> ===摘要===<br /> 梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。<br /> <br /> ===关键词===<br /> 翻译；译者；文化身份；莎士比亚剧<br /> <br /> ===Introduction===<br /> Translating a work is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important active role in both translating the content and interpreting it, and the translator is the first person who is in direct contact with the original text.<br /> <br /> Translating a work that is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important role in both translating and interpreting, and the translator is the first person who is in direct contact with the original text.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 14:49, 18 December 2020 (UTC)<br /> <br /> <br /> Benjamin, the famous German literary critic, once said : &quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &quot;cultural identity&quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)<br /> <br /> There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.<br /> <br /> === Introduction to the identity of the translator===<br /> Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.<br /> <br /> Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.<br /> <br /> (While your first quote here may be intended to explain to the reader where the concept of cultural identity came from, I suggest you explain the meaning of the concept proposed by the cited author.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> &quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&quot; (Xi Yongji. 2007:245)<br /> <br /> ====Zhu Shenghao's Cultural Identity====<br /> Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.<br /> <br /> In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.<br /> <br /> Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on naturalization strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.<br /> <br /> （Be clear about what exactly domestication or foreignization in your text means and who defines it. Use word “domestication” instead of “naturalization”in general.）--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> ====Liang Shiqiu's Cultural Identity====<br /> Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.<br /> <br /> However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &quot;All civilization is the original creation of a very few geniuses&quot;, &quot;literature and art are the original creation of a few geniuses&quot;, &quot;there is no literature and art for the majority, and literature and art are not for the majority &quot;. (Liang Shiqiu: R.O.C. 23) &quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&quot; <br /> <br /> However, it is worth mentioning that Liang believed that literature is a creation of genius. Liang repeatedly said, &quot;All civilization is the original creation of a very few geniuses&quot;, &quot;literature and art are the original creation of a few geniuses&quot;, &quot;there is no literature and art for the majority, and literature and art are not for the majority &quot;. (Liang Shiqiu: R.O.C. 23) &quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&quot; --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12) <br /> <br /> We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &quot;genius literature&quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese literary world. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.<br /> <br /> We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &quot;genius literature&quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese translation. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> ====Foreignization and domestication Strategies====<br /> According to Venuti, domestication is &quot;bringing the original author into the desired language and culture of the translation&quot;, while dissimilation is &quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&quot; (Venuti, 1995:20). (Venuti, 1995:20)<br /> <br /> According to Venuti, domestication is &quot;bringing the original author into the desired language and culture of the translation&quot;, while dissimilation is &quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&quot; (Venuti, 1995:20). --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.<br /> <br /> The method of Foreignization is: &quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.<br /> (Here you used foreignization ,but above the paper,you use alienation,The specific concepts of context should be unified.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> ===The cultural identity of translators in translation===<br /> First, the translator is the second pair of eyes of the reader. &quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.<br /> <br /> Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.<br /> (Here world literature is not very accurate, maybe you can say world translation)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> ====In terms of the original intention of translation====<br /> The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &quot;interest&quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao himself said, &quot;I love Shakespeare's plays so much and so only that I have tried to read the whole text at least ten times from the beginning to the end. ......&quot; Zhu's love for Shakespeare is so strong that &quot;He was so passionate about Shakespeare that he would not stop reading Shakespeare, not eating it. <br /> <br /> The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &quot;interest&quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao said, &quot;I love Shakespeare's plays so much so that I have tried to read the whole text at least ten times from the beginning to the end. ......&quot; Zhu's preference for Shakespeare is so obvious that &quot;He was so passionate about Shakespeare that he would not stop reading and studying Shakespeare assiduously.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.<br /> <br /> Liang Shiqiu believes that there is a distinction between elegant and vulgar literature, genius is to appreciate literature, the general public to read are popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &quot;the highest art only a few people can understand ......, literature and art is not the majority.&quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &quot;literature is created by genius&quot;.<br /> <br /> Liang Shiqiu believed that there is a distinction between elegant and vulgar literature, genius always appreciate literature, the general public usually read popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &quot;only a few people can understand the highest art ......, literature and art is not for the majority.&quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &quot;literature is created by genius&quot;.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> When he studied at Harvard University, he took the course &quot;Literary Criticism after the Sixteenth Century&quot; by the American neoclassicist Byrd Byrd, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &quot;preserve the most authentic things&quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &quot;hard translations&quot; and &quot;bent translations&quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)<br /> (Here maybe you want to say Irving Babbitt not Byrd, plz check it again)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> ====In terms of the content of the translation (taking the translation of Shakespeare as an example)====<br /> Zhu Shenghao stated at the beginning of his translation: &quot;My aim in translating this book is, first, to maintain the charm of the original work to the greatest extent possible, and then to consider the second point if it is not feasible, that is, to convey faithfully the meaning and feelings of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao's translation of Sha plays more attention to the performance function of drama.<br /> <br /> Zhu Shenghao stated at the beginning of his translation: &quot;In translating this book, my aim is to maintain the charm of the original work as much as possible, and then to consider the second point if it is not feasible, that is, to convey the meaning and feelings faithfully of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao paid more attention to the performance function of drama in translation of Shakespeare’s plays.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)<br /> <br /> For example: ( the translation of Zhu Shenghao)<br /> <br /> EGEUS: Stand forth，Demetrius． My noble lord，<br /> 伊吉斯:走上前来，狄米特律斯。殿下，这个人，<br /> <br /> This man hath my consent to marry her．<br /> 是我答应把我女儿嫁给他的<br /> <br /> Stand forth，Lysander．<br /> 走上前来，拉山德。<br /> <br /> And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）<br /> 殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）<br /> <br /> In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &quot;purified&quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. <br /> For example, his translation. <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)<br /> <br /> 拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!<br /> 否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。<br /> <br /> Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &quot;faithfulness and fidelity&quot;. The style of &quot;faith&quot; and &quot;faithfulness&quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.<br /> <br /> First: Stay true to the original text and try not to delete or subtract from it.For example:<br /> <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)<br /> <br /> Translation of Liang Shiqiu:<br /> <br /> 赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，<br /> <br /> 否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。<br /> <br /> HELENA She was a vixen when she went toschool: <br /> <br /> And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)<br /> <br /> 海 上学时她就是个狐狸精。<br /> <br /> 她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。<br /> <br /> Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &quot;Shakespearean&quot;. &quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&quot;. (Liang Shiqiu. 1966) <br /> Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. <br /> <br /> For example, a fragment of Liang Shiqiu's translation of Hamlet.<br /> <br /> Queen. There is a willow grows aslant a brook,<br /> That shows his hoar leaves in the glassy stream;<br /> There with fantastic garlands did she come,<br /> Of crow-flowers, nettles, daisies, and long purples,<br /> That liberal shepherds give a grosser name.<br /> But our cold maids do dead man’s fingers call them:<br /> There, on the pendent boughs her coronet weeds<br /> Clambering to hang ,an envious sliver broke,<br /> When down her weedy trophies and herself<br /> Fell in the weeping brook. Her clothes spread wide;<br /> And, mermaid-like, awhile they bore her up;<br /> Which time she chanted snatches of old tunes; As one<br /> incapable of her own distress,<br /> Or like a creature native and indu’d<br /> Unto that element: but long it could not be<br /> Till that her garments ,heavy with her drink,<br /> Pull’d the poor wretch from her melodious lay<br /> To muddy death.<br /> （shakespeare, hamlet, act Ⅳ, scenceⅦ）<br /> <br /> The translation of Liang Shiqiu：<br /> (You can say Liang’s version :)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)<br /> 河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。<br /> <br /> ===Conclusion===<br /> The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. <br /> <br /> For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. <br /> <br /> By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.<br /> <br /> ===References===<br /> <br /> Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．<br /> <br /> Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)<br /> <br /> Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary]. 台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.<br /> <br /> Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.<br /> <br /> Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128.. <br /> <br /> Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.<br /> <br /> Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.<br /> <br /> Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．<br /> <br /> Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．<br /> <br /> Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004<br /> <br /> Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.<br /> <br /> Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001<br /> <br /> Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．<br /> <br /> Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.<br /> <br /> ==Descriptive translation studies 曹润鑫 Cao Runxin==<br /> <br /> ===Abstract===<br /> The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.<br /> <br /> ===Key words===<br /> Descriptive translation studies; Translation studies<br /> <br /> ===摘要===<br /> 描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍<br /> <br /> ===关键字===<br /> 描述翻译学；翻译研究<br /> <br /> ===Introduction===<br /> Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &quot;faithfulness&quot; and &quot;equivalence&quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.<br /> <br /> Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &quot;cultural shift&quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &quot;faithful&quot; and &quot;reciprocal&quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.<br /> <br /> In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &quot;how translation should be&quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.<br /> <br /> ===Tuli and ''Descriptive translation''===<br /> The concept of &quot;descriptive translation&quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &quot;The Name and Reality of Translation Studies&quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.<br /> <br /> Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.<br /> <br /> In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&quot;. [3]<br /> <br /> According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &quot;(more) objective&quot; norms, while the latter are &quot;(more) subjective&quot; i.e. &quot;less objective&quot;. The concept of the This concept is very important in its theoretical system.<br /> <br /> He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]<br /> <br /> According to Tuli, &quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.<br /> Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &quot;translations&quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent. &quot;Exoticism&quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &quot;translation tone&quot; in the text. Due to the real existence of &quot;translation cavity&quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &quot;translation cavity&quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.<br /> <br /> Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &quot;credible&quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112<br /> <br /> According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.<br /> <br /> Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.<br /> <br /> In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &quot;meta-prescriptive&quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &quot;translation studies can never be merely descriptive&quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.<br /> <br /> === Hermanns and ''Translation in Systems''===<br /> The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.<br /> <br /> Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &quot;norm&quot; and Chesterman's &quot;norm&quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.<br /> <br /> The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &quot;reciprocity&quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &quot;norm&quot; and introduces the &quot;norm&quot; proposed by Tully and the &quot;norm&quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.<br /> <br /> Scholars who study descriptive translation have proposed that literature should be regarded as &quot;a complex and dynamic system&quot;, and that literary translation studies should &quot;adopt a descriptive, target-language-based, functional and systematic research approach&quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.<br /> <br /> ===Conclusion===<br /> Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.<br /> <br /> ===References===<br /> [1]李红满.论当代西方翻译研究范式的转变[J].外语与翻译, 2002 (2) .<br /> <br /> [2]张美芳.翻译学的目标与结构——霍姆斯的译学构想介评[J].中国翻译, 2000 (2) .<br /> <br /> [3]Toury, Gideon.Descriptive Translation Studies and Beyond[M].Shanghai:Shanghai Foreign Language Education Press, 2001.<br /> <br /> [4]林克难.翻译研究:从规范走向描写[J].中国翻译, 2001 (6) .<br /> <br /> [5]Vermeer, Hans J.A Skopos Theory of Translation[M].Heidellburg:TEXT-con, 1996.<br /> <br /> [6]Venuti.Lawrence.The Translator’s Invisibility[M].A History of Transla-tion.London&amp;New York:Routledge, 1995.<br /> <br /> [7]Snell-Homby, Mary.Translation Studies.AnIntegrated Approach[M].Re-vised ed.Amsterdam:John Benjamins, 1995.<br /> <br /> [8]Hemans, Theo, ed.The manipulation of Literature[M].London&amp;Sydney:Croom Helm, 1985.<br /> <br /> [9]韩子满, 刘芳.描述翻译研究的成就与不足[J].外语学刊, 2005 (3) .<br /> <br /> [10]谢天振.翻译研究新视野[M].青岛:青岛出版社, 2003.<br /> <br /> [11]张南峰.从梦想到现实——对翻译学科的东张西望[J].外国语, 1998 (3) .<br /> <br /> ==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==<br /> <br /> &lt;center&gt;肖伊宁 Xiao Yining 202020080655&lt;/center&gt;<br /> <br /> ===Abstract:=== <br /> This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and deeply understand the status of descriptive translation studies.<br /> <br /> ===摘要：===<br /> 本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，深刻理解描写性翻译研究的地位。<br /> <br /> ===Key words:===<br /> descriptive translation studies; normative translation studies; limitation; necessity; relationship.<br /> <br /> ===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.<br /> <br /> ===Chapter 1 Introduction===<br /> <br /> Translation has a history of more than 2000 years. In the long-term and varied translation activities of translation, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）<br /> <br /> Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &quot;faithfulness, expressiveness and elegance&quot;, Lu Xun's &quot;rahter to be faithful than smooth&quot; and Lin Yutang's &quot;faithfulness smoothness elegance&quot;. （Liao Qiyi 2002，6）<br /> <br /> In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) <br /> <br /> However, these translation studies are actually &quot;normative&quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &quot;misleading readers&quot; or &quot;unfaithful to the original work&quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)<br /> <br /> ===Chapter 2 The emergence and development of descriptive translation studies===<br /> <br /> In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.<br /> <br /> ====2.1 John MacFarlane====<br /> <br /> In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &quot;ideal&quot; or &quot;real&quot; translation.(Lin Kenan 2001, 44)<br /> <br /> Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)<br /> <br /> ====2.2 Firth====<br /> <br /> Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) <br /> <br /> ====2.3 James Holmes====<br /> <br /> With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）<br /> <br /> &quot;He divides translation studies into three categories:<br /> (1) Description: to describe the special phenomenon of translation in real life;<br /> (2) Theory: establishing the principle of explaining translation phenomena;<br /> (3) Application: the information obtained from the former two is used in translation practice and translator training.&quot;（Liao Qiyi 2002，54） <br /> <br /> He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. <br /> <br /> For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&quot;（Liao Qiyi 2002，55）<br /> <br /> Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）<br /> <br /> Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&quot; (Hermans 1985, 14). <br /> <br /> However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.<br /> <br /> ====2.4 Polysystem Theory====<br /> <br /> In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &quot;The polysystem（多元体系派） is not satisfied with the achievements made by the translation studies（翻译研究派）. It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &quot;polysystem&quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&quot;（Liao Qiyi 2002, 59）<br /> <br /> According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）<br /> <br /> Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）<br /> <br /> ====2.5 Gideon Toury<br /> <br /> Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）<br /> <br /> This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）<br /> <br /> Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &quot;one to one correspondence&quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）<br /> <br /> In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &quot;International Journal of translation studies&quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. <br /> <br /> Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &quot; (Toury 2012. xii)<br /> <br /> He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.<br /> <br /> ====2.6 Snell-Hornby<br /> <br /> In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. <br /> <br /> Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &quot;Description&quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)<br /> <br /> ===Chapter 3 The relationship between normative translation studies and descriptive translation studies===<br /> <br /> ====3.1 The value of descriptive translation studies and the limitations of normative translation studies====<br /> <br /> In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.<br /> <br /> Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) <br /> <br /> Maria Tymoczko believes that：&quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.<br /> <br /> Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) <br /> <br /> Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：<br /> <br /> (1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. <br /> <br /> However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &quot;translation&quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)<br /> <br /> (2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &quot;the wrong way of translation&quot;. (Liu Yingkai 1987, 22) <br /> <br /> The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &quot;the gain and loss of a work should be measured from the perspective of history&quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) <br /> <br /> ====3.2 The limitations of descriptive translation studies and the value of normative translation studies====<br /> <br /> First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory has certain progressive significance and reference, it is not perfect.(Liu Zongyan 2008, 201) <br /> <br /> Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &quot;detached and purely descriptive attitude.&quot; ( Hermans 1999 , 36) <br /> <br /> This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &quot;meta - prescriptive&quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &quot;translation studies can never be merely descriptive&quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)<br /> <br /> On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. <br /> Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)<br /> <br /> ====3.3 The relationship between prescriptive translation studies and descriptive translation studies====<br /> <br /> In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )<br /> <br /> The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.<br /> <br /> ===Chapter 4 Conclusion=== <br /> <br /> Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.<br /> <br /> Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.<br /> <br /> Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.<br /> <br /> ===Chapter 5 Reference===<br /> Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.<br /> <br /> J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press, 20.<br /> <br /> Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.<br /> <br /> Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.<br /> <br /> Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.<br /> <br /> Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.<br /> <br /> Snell-Hornby.(1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.<br /> <br /> Han Ziman 韩子满，Liu Fang 刘芳（2005）. 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).<br /> <br /> Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]<br /> <br /> Lin Kenan 林克难. (2001).翻译研究：从规范走向描写[Translation Studies: From the Prescriptive <br /> to the Descriptive Approach].中国翻译[Chinese Translation Journal](06).<br /> <br /> Liu Zongya 刘宗衍. 浅谈翻译理论的“规范”性[On the &quot;Normative&quot; Nature of Translation Theory]. 科技资讯[Science &amp; Technology Information]<br /> <br /> Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).<br /> <br /> Zhang Nanfeng 张南峰.(2002).多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).<br /> <br /> ==Translation Strategies Sagara Seydou, Student No :201911080004, Major:Translation Studies== <br /> <br /> Translation Strategies <br /> <br /> ==Abstract == <br /> <br /> Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.<br /> <br /> Key words: translation strategies and translational problems.<br /> <br /> This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;<br /> <br /> ==Introduction==<br /> <br /> The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers define them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical significance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)<br /> <br /> ==Content==<br /> <br /> Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classifications from different perspectives. For example, Lörscher’s (1991) classification is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classifications. It seems that clear-cut definitions of these terms might not work as well as prototype definitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)<br /> The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reflect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reflects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)<br /> <br /> The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp fiction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp; Munday,2004, p. 230)<br /> Having discussed the two prototype strategies, let us turn to the definitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few defining characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difficulty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).<br /> Problems, according to their scale, can be divided into global (or general) problems and local (or specific) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “specific activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle specific problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by specific techniques, which affect the translation result and the micro-units of the text, and are classified by comparison with the source text (Molina &amp; Hurtado Albir, 2002, p. 509).<br /> <br /> As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural filtering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.<br /> However, this is not consonant with the dictionary definitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is defined as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) defines translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will influence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identified the following text processing strategies: (a) problem identification, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal significant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can find out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280). <br /> Darwish (2008) identifies four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70).<br /> However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might influence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difficulty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.(Lörscher, 1991, p. 70).<br /> <br /> ==Conclusion==<br /> <br /> In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.<br /> <br /> ==References==<br /> <br /> Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp; J. Laffling(Eds.), Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=History_of_Translation_Studies_10&diff=115035 2020-12-18T16:32:41Z

<p>Sagara Seydou 3: /* Translation Strategies Sagara Seydou, Student No :201911080004, Major ;Translation Studies */</p> <hr /> <div>这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> *Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> *Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]<br /> *Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].<br /> ='''Functional Equivalence'''=<br /> <br /> <br /> == On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing== (please add your student number and major)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:10, 18 December 2020 (UTC)<br /> <br /> ===Abstract===<br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.<br /> <br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal and functional equivalence, the former of which pursues the equivalence in form and content and the latter of which pursues equivalence in function between the two languages. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:10, 18 December 2020 (UTC)<br /> <br /> ===key words===<br /> <br /> functional equivalence, formal equivalence, translation<br /> <br /> ===摘要===<br /> 翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。<br /> <br /> ===关键字===<br /> 功能对等，形式对等，翻译<br /> <br /> ===Introduction===<br /> <br /> As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. <br /> <br /> Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.<br /> <br /> ===Functional Equivalence===<br /> In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)<br /> <br /> Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. <br /> <br /> To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. <br /> Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.<br /> <br /> ===Formal equivalence===<br /> <br /> Formal equivalence, though seeking equivalence as well, focuses mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） <br /> <br /> Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.<br /> <br /> From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.<br /> <br /> ===Relationship between functional equivalence and formal equivalence===<br /> In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.<br /> <br /> For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.<br /> <br /> Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.<br /> <br /> Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.<br /> <br /> Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.<br /> <br /> ===Application of functional equivalence and functional equivalence in translation===<br /> <br /> Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.<br /> <br /> ====Lexical equivalence====<br /> <br /> Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.<br /> <br /> Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. <br /> <br /> It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. <br /> “When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”<br /> In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.<br /> <br /> ====Syntax equivalence====<br /> <br /> Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: <br /> “Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”<br /> Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。<br /> <br /> We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.<br /> When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. <br /> There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:<br /> “You’re not a student,are you?”<br /> “Yes, I am.” <br /> Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.<br /> <br /> ====Texual equivalence====<br /> <br /> Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. <br /> <br /> Example: “祥子！”她往前凑了凑：“我有啦！” <br /> “有了什么？”他一时蒙住了。<br /> “这个！”她指了指肚子。“你打主意吧！”<br /> Translation: “Xiangzi,” she came closer. “I am in trouble!”<br /> “What trouble?” He was startled.<br /> “This!” She pointed her belly. “What was you going to do about it?”<br /> According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.<br /> <br /> In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner connotation it bears. <br /> Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. <br /> Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.<br /> <br /> The last element we should never ignore is cultural context given that there are great cultural differences between English and Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.<br /> Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.<br /> We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.<br /> <br /> ====Stylistic equivalence====<br /> <br /> Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.<br /> Example: 清明<br /> 杜牧<br /> 清明时节雨纷纷，路上行人欲断魂。<br /> 借问酒家何处有? 牧童遥指杏花村。<br /> Translation by Wu Juntao:<br /> The Pure Brightness Day<br /> By Du Mu<br /> It drizzles thick and fast on the Pure Brightness Day,<br /> I travel with my heart lost in dismay.<br /> “Is there a public house somewhere, cowboy?”<br /> He points at Apricot Village faraway.<br /> <br /> In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..<br /> Translation by Xu Yuanchong:<br /> The Mourning Day<br /> By Du Mu<br /> A drizzling rain falls like tear on the Mourning Day;<br /> The mourner’s heart is going to break on his way.<br /> Where can a wineshop be found to drown his sad hours?<br /> A cowherd points to a cot ’mid apricot flowers. <br /> <br /> In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.<br /> <br /> ===Conclusion===<br /> <br /> Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation. <br /> <br /> Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)<br /> <br /> ===References===<br /> <br /> Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.<br /> <br /> Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.<br /> <br /> Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．<br /> <br /> Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.<br /> <br /> Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.<br /> <br /> Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &quot;Faithfulness, Expressiveness and Elegance&quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.<br /> <br /> Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.<br /> <br /> Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.<br /> <br /> Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.<br /> <br /> Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.<br /> <br /> 尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．<br /> <br /> Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).<br /> <br /> UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．<br /> <br /> == My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==<br /> <br /> == Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==<br /> &lt;center&gt;肖茜 Xiao Xi No.202020080654&lt;/center&gt;<br /> ===Abstract===<br /> Hao Jingfang's science fiction &quot;Folding Beijing&quot; won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu's rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of the theory of Nida's functional equivalence to &quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&quot;. The theory of Nida's functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu's application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.<br /> <br /> ===Key words===<br /> Functional Equivalence; Folding Beijing; meaning; style; culture<br /> <br /> ===题目===<br /> 刘宇昆翻译中的功能对等-以《北京折叠》为例<br /> ===摘要===<br /> 郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。<br /> <br /> ===关键词===<br /> 功能对等；《北京折叠》；意义；风格；文化<br /> <br /> ===Introduction===<br /> In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.<br /> <br /> This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers' understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information.<br /> <br /> Nida's functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.<br /> <br /> ===1. Eugene A. Nida and His Theory of Functional Equivalence===<br /> <br /> Eugene A. Nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work Toward a Science of Translating. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers' response, not just the equivalence of content and form. <br /> <br /> In his book The Theory and Practice of Translation, Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida's dynamic equivalence theory requires that the translation readers' response to the translation should be consistent with that of the original readers. <br /> <br /> Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &quot;The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers did&quot; (Nida 1993:118). <br /> <br /> In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the receptor-language reader's response, (3) the receptor language and culture as a whole. Nida defined the reader's response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader's response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.<br /> <br /> ===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===<br /> <br /> ====2.1 Functional Equivalence from Aspect of Meaning====<br /> <br /> Nida and Taber (2004：12) stated that &quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&quot; Meaning in this chapter will from three levels to discuss: words, sentences and passages, in other words, these three levels is a detailed analysis of the lexicon, syntax and discourse. According to the functional equivalence theory, translation should not only achieve literal equivalence, but also discover the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in the translation of Folding Beijing from lexical, syntactic and discourse perspectives.<br /> <br /> =====2.1.1 Lexical level=====<br /> <br /> In literary translation, how to correctly interpret the meaning of a word or phrase is always a difficult problem. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is most appropriate. In the English translation of Folding Beijing, there are many examples to illustrate how the translation achieves functional equivalence with the source text in the lexical level as follows:<br /> <br /> Example 1:<br /> “食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）<br /> <br /> &quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&quot; (Ken Liu 2015)<br /> <br /> Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &quot;the plastic tables at the food hawker stalls&quot; for readers to understand. &quot;Sour and spicy powder&quot; is originally a kind of Chinese noodles. The author uses &quot;hot and sour rice noodles&quot; to describe the taste of sour and spicy and the raw material of noodles is rice.<br /> <br /> Example 2:<br /> “这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）<br /> <br /> &quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&quot; (Ken Liu 2015)<br /> <br /> The translator uses &quot;a toothpick dangling between his lips&quot; to describe the action of picking teeth，it's more detailed and vivid. “懒散不修边幅” is translated into &quot;lazy and slovenly&quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &quot;the appearance of being perpetually grumpy&quot;, in this way, the translation better expresses the author's intention to express the meaning of looking bad-tempered. <br /> <br /> Example 3:<br /> “霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）<br /> <br /> &quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&quot; (Ken Liu 2015)<br /> <br /> The author did not translate directly “闪烁的小灯” into &quot;the little flashing lights &quot;, but &quot;Tiny flashing LEDs&quot;. This is also because of the translator's own understanding of the text, he wants the readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &quot;lapi&quot;, which is to show the original meaning.<br /> <br /> =====2.1.2 Syntactic Level=====<br /> <br /> Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese. <br /> <br /> The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, conjunctions and relationship between words in English use frequency is very high. Secondly, English speakers put attention on object consciousness and used to the order from a small object to a large one, from specific to general; In Chinese texts, there is usually a temporal, spatial or causal sequence of time sequence. Finally, English language usually emphasizes important information at the beginning of a sentence, while the Chinese language tends to process information from the obsolete to the fresh for the purpose of impressing people.<br /> <br /> In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a proper form. The following are some examples to show that how English translation oh Folding Beijing achieves functional equivalence to the original text in syntactic level: <br /> <br /> Example 1:<br /> “ ‘现在政府太混沌了，做事太慢，僵化，体系也改不动。’他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。’他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’” （Jingfang Hao 2016:15）<br /> &quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&quot; (Ken Liu 2015)<br /> We can see that in the translation of this paragraph, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the readers have supplemented and translated this sentence into &quot;I'll also work to expand the pool of candidates for government service and promotion&quot;, The translator perfectly explains what &quot;放开&quot; means.<br /> <br /> Example 2:<br /> “昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）<br /> <br /> “Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) <br /> <br /> In this passage, the text refers to “过去” twice with emphasis. In order to achieve the same emphasis in the English translation, the author chose to adjust the word order, placing &quot;In the dim lamplight&quot; between the two sentences, rather than using a subordinate clause like &quot;…childhood that…&quot;.<br /> <br /> Example 3:<br /> “再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）<br /> <br /> &quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&quot; (Ken Liu 2015)<br /> <br /> In this passage, we can see clearly that English has many more conjunctions than Chinese, like &quot;as though&quot;, &quot;from where&quot; and &quot;that&quot;, this is because of the difference in syntax between the two languages.<br /> <br /> =====2.1.3 Discourse level=====<br /> <br /> Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &quot;rewrite&quot; to make the translated text acceptable to readers. In literary translation, the translator should pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in the level of discourse. The following part selects a dialogue and its English translation in Folding Beijing as an example of literary translation to achieve functional equivalence in discourse level.<br /> <br /> “所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”<br /> <br /> 老刀没有动筷子。他很饿，可是他觉得这时不能吃。<br /> <br /> “可是这等于我也得撒谎。”<br /> <br /> 依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)<br /> <br /> &quot;And so&quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&quot; <br /> <br /> Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.<br /> <br /> &quot;Then I'd be lying, too,&quot; Lao Dao said.<br /> <br /> Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &quot;Please accept this token of my appreciation.&quot; (Ken Liu 2015)<br /> <br /> The conversational habits in Chinese are different from those in English, so some adjustments are often made when translating. The form of the dialogue is not completely translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”translated into &quot;spooned a serving of the new hot dish&quot;, the translator changed the action to &quot;spoon&quot;, which is more suitable for Yi Yan's identity image, it is more suitable as a girl in the first space to spoon the vegetables to Lao Dao. “推给老刀”translated into &quot;She pushed them across the table toward Lao Dao&quot;, this sentence adds some action to make it more pictorial.<br /> <br /> ====2.2 Functional Equivalence from Aspect of Style====<br /> <br /> Every writer has his own writing style, and no one can imitate it perfectly. That is to say, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows the language characteristics, and the English translation can also see that the translator tries to achieve the functional equivalence on the stylistic level.<br /> <br /> =====2.2.1 Rhetoric=====<br /> <br /> First of all, rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form and is a counterpart of dialectic. The use of rhetoric can create vivid images, vivid scenes, improve the effect of literature.<br /> <br /> Example 1:<br /> 老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)<br /> <br /> &quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&quot; (Ken Liu 2015)<br /> <br /> In this passage, the original text compares a hungry stomach to an abyss, and the English translation also uses this metaphor to form a rhetorical functional equivalence.<br /> <br /> Example 2:<br /> 不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)<br /> &quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&quot; (Ken Liu 2015)<br /> <br /> In this paragraph, it is a metaphor, and the words &quot;西山&quot; and &quot;孤&quot; in the original text are not translated, only translated into &quot;an island in the sea&quot;, this description is enough to show the image of a folded city.<br /> <br /> Example 3:<br /> 高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)<br /> <br /> &quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&quot; (Ken Liu 2015)<br /> <br /> It has a personification in this paragraph, &quot;skyscrapers&quot; have &quot;heads, feet, necks and arms&quot;, and &quot;like the humblest servants&quot;, the use of rhetoric enables people to imagine the folding picture of the city through the human image. By comparing the building to a herd of beasts, it shows its size and the sense of fear and oppression it brings.<br /> <br /> Example 4:<br /> 直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)<br /> <br /> &quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&quot;(Ken Liu 2015)<br /> <br /> In this sentence, although &quot;怪胎&quot; translate into &quot;monster&quot;, the &quot;生&quot;express also the same meaning, so the translator does not struggle.<br /> <br /> =====2.2.2 Dialects=====<br /> <br /> Dialect embodies the local characteristics, is the author's own writing style. Sometimes it's a problem in translation. In the following example, we can see how the translator handles this problem.<br /> <br /> For example, &quot;伙计&quot; in English &quot;waiter&quot; ,&quot;铺盖卷&quot; in English &quot;bedrolls&quot; ,&quot;闺女&quot;is translated as &quot;real daughter&quot; ,&quot;她们认死理儿&quot; is translated as &quot;they don't know how to be flexible&quot;,&quot;只是这么多年过来，人就木了.&quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.<br /> <br /> In short, whether the use of rhetoric or dialect in literature, can fully reflect the author's writing style. Therefore, in literary translation, the translator should study the differences between the source language and the target language in the ways to express stylistic differences, and find out the best way to make up for these differences. In this way, literary translation can achieve maximum functional equivalence at the stylistic level.<br /> <br /> ====2.3 Functional Equivalence from Aspect of Culture====<br /> <br /> In the process of translation, the cultural difference between the two languages is also an issue that translators should pay attention to. People who come into contact with different cultures have different ways of thinking, values and social customs and so on. Translators need to understand the two cultures and fully express the cultural elements contained in the original text. At this time, translation plays a role in cross-cultural communication. The translator must present the cultural meaning shown or implied in the original text to the readers so that the translation can achieve the cultural equivalence with the original text. In this chapter, we will analyze the English translation of Folding Beijing from the perspective of food culture, folk culture and culture of idioms, so as to explain how it achieves the functional equivalence with the original text.<br /> <br /> =====2.3.1 Food Culture=====<br /> <br /> The city described by Beijing Folding is the political and cultural center of China, and it is a city with profound cultural deposits. There are a lot of contents belonging to traditional Chinese food culture in the novel. This part will analyze how the translator translates these delicacies to achieve functional equivalence.<br /> <br /> Example 1:<br /> &quot;…面前摆着一盘炒面或炒粉… &quot;(Jingfang Hao 2016:2)<br /> <br /> &quot;Each kid had a plate of chow mein or chow fun…&quot; (Ken Liu 2015)<br /> <br /> &quot;炒面&quot;is a well-known traditional snack in China. The translator makes it into &quot;chow mein&quot;, rather than &quot;Chinese stir-fried noodles&quot;. In the dictionary, &quot;chow mein&quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also makes it more intuitive for the reader to know what the food is.<br /> <br /> Example 2:<br /> &quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&quot;(Jingfang Hao 2016:32)<br /> <br /> &quot;…over a half bottle of baijiu…&quot; (Ken Liu 2015)<br /> <br /> The foreignizing translation is adopted here, &quot;白酒&quot; is translated into &quot;baijiu&quot; , the translator doesn't use the word like &quot;spirits&quot;, it not only retains Chinese cultural characteristics, but also achieves communicative effect.<br /> <br /> Example 3:<br /> &quot;哎，你们知道那儿一盘回锅肉多少钱吗？&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…how much they charge for an order of twice -cooked pork over there?&quot; (Ken Liu 2015)<br /> <br /> The special feature of this dish is that it is boiled in water and then stir-fried. The translator captures this feature in the translation, trying to make people understand the meaning of &quot;回锅&quot;, and this dish is made with pork, he wants readers of the English translation to see an image of the dish in their heads in the same way that Chinese people do.<br /> <br /> =====2.3.2 Folk Culture=====<br /> <br /> Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.<br /> <br /> Example 1:<br /> &quot;…几个人分吃两个菜…&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…and they shared two dishes family-style.&quot; (Ken Liu 2015)<br /> <br /> &quot;分吃&quot; is the most common way of eating in traditional Chinese culture, where several dishes are shared among friends and family. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he use the word &quot;shared&quot; and he add the word &quot;family-style&quot; to make it easier for the reader to understand the behavior. <br /> <br /> Example 2:<br /> &quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&quot;(Jingfang Hao 2016:27)<br /> <br /> &quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&quot; (Ken Liu 2015)<br /> <br /> The culture of hometown is a major feature of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &quot;老乡&quot; from a geographical perspective. &quot;管事儿&quot;means to have some authority. The translator also explains this word so that readers can understand it easily.<br /> <br /> Example 2:<br /> &quot;一点心意，你收下。&quot; (Jingfang Hao 2016:23)<br /> <br /> &quot;Please accept this token of my appreciation.&quot;(Ken Liu 2015)<br /> <br /> In this passage, Yi Yan said that she hoped Lao Dao could help her keep a secret, so she wanted to give Lao Dao with money. &quot;心意&quot; means money, which is a euphemism used in China when it is inconvenient to offer money directly. In the translation, the translator also considered a euphemistic way of expression, so he used the word &quot;appreciation&quot;.<br /> <br /> =====2.3.3 Culture of Idioms=====<br /> <br /> Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.<br /> <br /> The author used many idioms in the article, such as &quot;饿虎扑食&quot;, the translator translated it into &quot;ate heartily&quot;, although the translation is easy to understand, but without the image that people are very hungry to eat, from the perspective of functional equivalence, English readers seem to be unable to reach the same level of understanding and response as Chinese readers.<br /> <br /> And &quot;（盘子）一片狼藉&quot;translated into &quot;The dishes were a mess&quot;, it is a brief description of the mess. And &quot;成人之美&quot; translated into &quot;in that case I'll have done a good deed by keeping silent&quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he was keeping secrets and that Yi Yan and Qin Tian might get together in the future. The translator abstractly translated the sentence in the English translation.<br /> <br /> ===Conclusion===<br /> <br /> From the analysis of the English translation of Folding Beijing from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of Folding Beijing to the English reader.<br /> <br /> Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is essentially the same as that of the source language readers, so the target language can be regarded as a functional equivalence translation. Analyzed from three aspects: meaning, style and culture &quot;Beijing fold&quot; English version, you can see on the language, while Chinese and English in logic and grammar are greatly different, there exist many differences in the Chinese culture and western culture, but the translator still tries his best to keep the content of the original text in the translation and find more appropriate words.<br /> <br /> In terms of some specific content, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction, which is of great value.<br /> <br /> ===References===<br /> <br /> [1] Hao Jingfang. Folding Beijing [J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy, 2015.<br /> <br /> [2] Nida, Eugene A. Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press,1993<br /> <br /> [3] Nida, Eugene A. Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001<br /> <br /> [4] Nida, Eugene A. &amp; Taber, Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2004<br /> <br /> [5] 郝景芳.孤独深处[M].南京：江苏凤凰文艺出版社，2016：1-40<br /> <br /> [6] 谭载喜.新编奈达论翻译[M].北京：中国对外翻译出版公司，1999<br /> <br /> [7] 许钧，穆雷.翻译学概论[M].南京：译林出版社，2009<br /> <br /> [8] 赵丹丹.浅论奈达的功能对等理论[J].文学教育，2011<br /> <br /> [9] 周兴阳.从功能对等理论视角看《北京折叠》英译本研究[J].新疆大学，2018<br /> <br /> [10] 王桂圆.系统功能语言学视角下《北京折叠》英译研究[J].海外英语，2018<br /> <br /> ==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==<br /> &lt;center&gt;余妮 Yu Ni No.202070080620&lt;/center&gt;<br /> ===Abtract===<br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. <br /> <br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s version has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===Key Words===<br /> Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong<br /> ===题目 ===<br /> 功能对等理论下余光中译《不可儿戏》分析<br /> ===摘要===<br /> The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。<br /> ===关键词===<br /> 功能对等；《不可儿戏》；余光中<br /> ===Introduction===<br /> “The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. <br /> <br /> “The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.<br /> <br /> The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) which was co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable, for it has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. With the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The following chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author makes a conclusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===An Introduction of Functional equivalence===<br /> ====The Definition of Functional Equivalence====<br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.<br /> <br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, according to the nature of translation. He pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).<br /> <br /> The equivalence in “dynamic equivalence” includes four aspects—lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, we should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural reaction of the source language in the target language(Guo Jianzhong, 2000).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Three Steps of Translation====<br /> Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.<br /> <br /> Firstly, we should create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully displays the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?<br /> <br /> Secondly, if meaning and culture concepts cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost not much snow in southern China all year round. Therefore, based on their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)<br /> <br /> In the translation, translators can eliminate cultural differences by changing the form of vocabularies. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and the image of “雨后春笋”. (Guo Jianzhong, 2000)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.<br /> <br /> Thirdly, if the change of form is not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Re-creation” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===''The Importance of Being Earnest'' and Its Chinese Versions===<br /> ====An Introduction of Oscar Wilde and His Works====<br /> Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).<br /> <br /> Oscar Wilde, born in Dublin, Ireland, is a “born for art” writer. He was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.<br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In this play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)<br /> <br /> Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies, revealing the hypocritical ethical concepts in Victorian era.(Wilde, 2009)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)<br /> <br /> Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Chinese Versions of The Importance of Being Earnest====<br /> =====An Overview of Its Chinese Versions =====<br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).<br /> <br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).<br /> <br /> Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared to previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).<br /> <br /> Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).<br /> <br /> From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Yu Guangzhong and His Chinese Version=====<br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). <br /> <br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections. Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.<br /> <br /> He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was first published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers but also for Chinese audiences and actors. Therefore, his translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===The Application of Functional Equivalence to Yu Guangzhong’s Version===<br /> ====Translation Strategies of Yu Guangzhong’s Version==== <br /> =====Translation of the Drama Title=====<br /> So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).<br /> <br /> So far, there are three famous versions of The Importance of Being Earnest—Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> “Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. <br /> <br /> “Functional equivalence emphasizes translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).<br /> <br /> Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Translation of Characters’ Names=====<br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.<br /> <br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but in different meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.<br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)<br /> <br /> It not only facilitated the needs of the audience but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience would be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.<br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. <br /> <br /> Yu Guangzhong translated “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. <br /> <br /> In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language remain the same.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.<br /> <br /> Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.<br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Translation of Characters’ Dialogues=====<br /> “There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.<br /> <br /> “There are many allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ======Alliteration======<br /> &quot;Many English allusions and idioms are used in Wilde’s plays&quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.<br /> <br /> (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.<br /> <br /> (1) ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.<br /> <br /> In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. <br /> <br /> (2) CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack. Here, “bitter” and “blessings” employed alliteration devices.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. <br /> <br /> Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can still benefit from them. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’ s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).<br /> <br /> An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting <br /> <br /> <br /> ======Paradox======<br /> (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor <br /> husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)<br /> 巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)<br /> Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). <br /> <br /> Paradox is a device favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed. Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.<br /> <br /> <br /> (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?<br /> CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for <br /> publication. (Wilde, 2009)<br /> 亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?<br /> 西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)<br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. <br /> <br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect. In example 4, what amused the audience was the conclusion contrary to the reasons.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)<br /> <br /> Yu Guangzhong added a Chinese conjunction “所以”. With it, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the readers will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ======Antithesis======<br /> <br /> (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)<br /> 亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)<br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. <br /> <br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators. Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty. Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).<br /> <br /> As a matter of fact, the target language seemed to be better than the source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)<br /> 劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)<br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.<br /> <br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in the target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Suggestions on Translation from Yu Guangzhong’s Version====<br /> Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.<br /> <br /> Through the analyses of Yu Guangzhong’s version, we may have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is the most popular one among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).<br /> <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is the variety of rhetorical devices. In the process of translation, Yu Guangzhong grasped this point. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). <br /> <br /> The second translation strategy is that the form can be changed properly but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning. The beauty of the original will be destroyed, too. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).<br /> <br /> For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===Conclusion===<br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). <br /> <br /> <br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we can have a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”. In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting<br /> <br /> One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.<br /> <br /> One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed but the meaning and satirical effect cannot be reduced. With these strategies, we can produce better translation. Even though we can gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===References===<br /> Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.<br /> <br /> Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.<br /> <br /> Eugene A. Nida &amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.<br /> <br /> Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.<br /> <br /> Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.<br /> <br /> Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.<br /> <br /> Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.<br /> <br /> Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.<br /> <br /> Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.<br /> <br /> Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.<br /> <br /> Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.<br /> <br /> Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.<br /> <br /> Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.<br /> <br /> Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.<br /> <br /> Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.<br /> <br /> Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.<br /> <br /> Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.<br /> <br /> Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> =Applicaton of Translation Theories=<br /> ==Study of Application of Interpretive Theory in Interpretation 韩宛真 Han Wanzhen 202020080603== <br /> <br /> ===Abstract===<br /> With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. <br /> <br /> With the development of economic globalization,exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand.The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice. Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:58, 16 December 2020 (UTC)<br /> <br /> ===Key words===<br /> interpretive theory; interpretation,; translation strategies<br /> <br /> ===题目===<br /> 释意理论指导下的口译<br /> <br /> ===摘要===<br /> 随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。<br /> <br /> ===关键词===<br /> 释意理论；口译；翻译策略<br /> <br /> ===1.Introduction===<br /> In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.<br /> <br /> ===1.1 Introduction of Interpretive Theory===<br /> The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. <br /> <br /> The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)<br /> <br /> The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &quot;meaning&quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.(Kong Shaohui 2009, 127)<br /> <br /> The first is the implied meaning(implictit), which means that the speaker actually wants to experess the meaning: the second is explicit, which the speaker actually says content.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &quot;implied meaning&quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. <br /> <br /> Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.<br /> <br /> The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can<br /> understand:The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &quot;thought that has not been expressed in words&quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.<br /> <br /> understanding: the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and though contend to be expressed, this stage is called interpretation of discourse. --[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &quot;de-verbalization&quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.<br /> <br /> The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.<br /> <br /> In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)<br /> <br /> ===1.2 Introduction of Interpretation===<br /> Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.<br /> Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.<br /> <br /> There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &quot;lightning thinking&quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &quot;simultaneous interpretation&quot; is almost impossible). (Ouyang Changyi 2010)<br /> <br /> Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &quot;simultaneous interpretation is a half-expert in any field.&quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)<br /> <br /> ===2. Literary Review===<br /> No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.<br /> <br /> ===2.1 The Research on Interpretive Theory===<br /> Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.<br /> <br /> The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &quot;interpretive&quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. <br /> <br /> At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. <br /> <br /> Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.<br /> <br /> It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.<br /> <br /> ===2.2 The Research on Interpretation under the Guide of Interpretive Theory===<br /> <br /> Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. <br /> <br /> With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.<br /> <br /> First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &quot;One Belt One Road&quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &quot;Black Technology&quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.<br /> <br /> On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.<br /> The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.<br /> <br /> ===3.Translation Strategies based on Interpretive Theory===<br /> Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.<br /> <br /> Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> ===3.1 Free Translation===<br /> <br /> The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。<br /> Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.<br /> &quot;而立之年&quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.<br /> 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。<br /> Translation: FOCAC is a valuable asset for China and Africa.<br /> &quot;金字招牌&quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.<br /> <br /> ===3.2 Addition of Message===<br /> <br /> Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。<br /> Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.<br /> In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.<br /> 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。<br /> Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.<br /> From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.<br /> <br /> ===3.3 Positive and Negative Translation===<br /> <br /> As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:<br /> 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。<br /> Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.<br /> The sentences in the source text are all expressed by the negative &quot;cannot&quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.<br /> 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。<br /> Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.<br /> The source text is a negative sentence containing the negative “cannot&quot; when translated into English. The translator is telling the truth, the translation is &quot;at least&quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.<br /> <br /> ===Conclusion===<br /> <br /> In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.<br /> <br /> The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. <br /> <br /> Translators should use translation strategies flexibly.The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)<br /> <br /> The interpretive theory is the hypothesis of &quot;beyond the shell of the source language&quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &quot;out of&quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)<br /> <br /> In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &quot;departure from the source language&quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&quot;(Lederer 2001, 45-50)<br /> <br /> In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)<br /> ===References===<br /> *Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &quot;Interpretive theory.&quot;: 1. <br /> <br /> *Dougherty, Ray C. (1969). &quot;An interpretive theory of pronominal reference.&quot; Foundations of Language: 488-519.<br /> <br /> *Gong Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.<br /> <br /> *Jackendoff, Ray S. (1969). &quot;An interpretive theory of negation.&quot; Foundations of language: 218-241.<br /> <br /> *Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.<br /> <br /> *Lederer Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.<br /> <br /> *Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.<br /> <br /> * Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.<br /> <br /> * Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]<br /> <br /> * Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.<br /> <br /> *Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.<br /> <br /> *Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.<br /> <br /> ='''Theory and Practise'''=<br /> <br /> <br /> ==The Development of Translation in Chinese Buddhist Scriptures 陈佳欣 Chen Jiaxin 202020080593==<br /> <br /> ===Abstract===<br /> The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.<br /> <br /> ===Keywords ===<br /> Buddhist scriptures, Translation, Literal translation, Free translation<br /> <br /> ===摘要===<br /> 佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。<br /> <br /> ===关键词===<br /> 佛经，翻译，直译，意译<br /> <br /> ===Introduction===<br /> Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time. About the first century AD Buddhism entered China along trade routes from Central Asia. Thus, the translation of Buddhist scriptures came into being. Buddhism was widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.<br /> <br /> During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the form similarity and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. “The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation” (Sun Shanshan 2014, 174).<br /> <br /> In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three period. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposed that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposed to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang held that translation “must be truthful and intelligible to the populace”.<br /> <br /> === The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===<br /> The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.<br /> <br /> ==== An Shigao ====<br /> An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He totally translated 35 Buddhist Scriptures, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).<br /> <br /> ==== Zhi Chen ====<br /> Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. <br /> <br /> ==== Zhi Qian ====<br /> Zhi Qian, also known as Zhi Yue, is a Buddhist scripture translator during the Three Kingdoms period. He is the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignore the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. <br /> <br /> (2)The mainstream translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures. On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore then can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.<br /> <br /> (3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.<br /> <br /> === the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===<br /> The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.<br /> <br /> ====Shi Daoan ====<br /> Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he is also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. <br /> <br /> “‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&quot;Three Difficulties in Translation&quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.<br /> <br /> The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.<br /> <br /> ==== Kumarajiva ====<br /> Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &quot; the first class master of translation&quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He is one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translates 39 volumes. He is proficient in both Chinese and Sanskrit languages, and advocates that as long as the translation does not violate the original meaning, there is no need to follow the original form. “Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &quot;geyi&quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992, 186). He argued that “geyi” is the culprit of the deformation of India Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25). <br /> <br /> Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness. Another remarkable achievement is his contribution to the translation workshop. After he arrived Chang'an, he began to organize translation workshops. Under his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).<br /> <br /> (2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads）are usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China，translators can take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there are more Sanskrit texts, they have more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.<br /> <br /> (3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.<br /> <br /> (4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).<br /> <br /> === Tang Dynasty ===<br /> The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously. In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age is Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.<br /> <br /> ==== Xuang Zang ====<br /> Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &quot; Sanzang Rabbi.&quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses, the number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).<br /> <br /> In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &quot;Doroni&quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &quot;bhaga&quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &quot;jumbu tree&quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &quot;Aunt Bodhi&quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &quot;prajna&quot; respect, &quot;wisdom&quot; is light and shallow. “The word &quot;Untranslatable&quot; here does not mean not translating, but rather &quot;not intended to translate&quot;, using transliteration”( Jian Xue 2018, 28).<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translators are mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also has a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who are proficient in Sanskrit has gradually increased, and the translation work does not need to turn to foreign monks.<br /> <br /> (2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation programs possible.<br /> <br /> (3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty is more all-sided in organization. “According to records, The translation workshop of the Tang Dynasty has as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them are rabbis appointed by the court.<br /> <br /> (4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.<br /> <br /> (5) The translation scripts are more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believes that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.<br /> <br /> === The Influence of the Translation of Buddhist Scriptures ===<br /> The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> The influence of Buddhist scripture translation on Chinese is mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.<br /> <br /> “In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&quot;, &quot;Sutra” etc; some are words that we don’t realize, such as &quot;memory&quot;, &quot;world&quot;, &quot;now&quot;, &quot;causality&quot;, &quot;attachment&quot;, &quot;emptiness&quot;, &quot;reality&quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).<br /> <br /> The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to be the main motive.<br /> <br /> In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.<br /> <br /> === Conclusion ===<br /> The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.<br /> <br /> The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.<br /> The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation<br /> <br /> === References ===<br /> Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223<br /> <br /> Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308<br /> <br /> Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.<br /> <br /> Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University <br /> <br /> Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.<br /> <br /> Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.<br /> <br /> Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. <br /> <br /> Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press<br /> <br /> Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &quot;Five Losses of Source Texts and Three Difficulties in Translation&quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.<br /> <br /> WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.<br /> <br /> Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.<br /> <br /> Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.<br /> <br /> He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.<br /> <br /> Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.<br /> <br /> Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.<br /> <br /> Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.<br /> <br /> ==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts'' 成于思 Cheng Yusi 202020080598 比较文学与跨文化研究==<br /> <br /> ==='''Abstract'''===<br /> André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the paper is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the paper will make a comparison of these two books to deepen readers' understanding of them.<br /> <br /> ===Key words===<br /> André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative Study of Chinese and Western Translation Principles'', “cultural turn”, John Dryden, translation principles<br /> <br /> ===题目===<br /> 《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析<br /> <br /> ===摘要===<br /> 安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。<br /> <br /> ===关键词===<br /> 安德烈·勒菲弗尔,《翻译，历史和文化论集》，刘宓庆，《中西翻译思想对比研究》，文化转向，约翰·德莱登，翻译原则<br /> <br /> ===1.Introduction===<br /> This paper presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, this paper is intended to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This paper will be divided into three parts.<br /> <br /> In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden compares a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.<br /> <br /> In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden's comparison of the translator and slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of Western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:56, 18 December 2020 (UTC)<br /> <br /> In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72) Finally, the author will show some scholars’ appraisals of this book.<br /> <br /> In part three, it intends to give a brief comparison of these two books in contents and forms.<br /> <br /> All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.<br /> <br /> ===2. Analysis of ''Translation, History and Culture: A Sourcebook''===<br /> <br /> ''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&quot;(Munday 2016,199) As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &quot;cultural turn&quot; of translation proposed by Translation Studies. <br /> <br /> In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &quot;a rewriting of an original text&quot;. Here, they explained that &quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&quot; (Lefevre 2003, xi) According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. <br /> <br /> In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii) <br /> <br /> Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &quot;cultural turn&quot;. The &quot;cultural turn&quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &quot;cultural turn&quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)<br /> <br /> If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &quot;cultural turn&quot;, Translation, History and Culture: A Sourcebook, with abundant case studies, is proved to be a good illustration of their thoughts. <br /> <br /> If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &quot;cultural turn&quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)<br /> <br /> The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. <br /> <br /> I enjoy reading this book because it brings us and those aloof and remarkable scholars more closer. After reading their original words, they seem to appear fresh before our eyes and narrate their feelings of being translators to us themselves. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&quot;. (Lefevere 2003, 47) <br /> <br /> In this part, I will analyze John Dryden's three types of translation and his comparison of &quot;author and translator&quot; to &quot;master and slave&quot; through the excerpts collected in Translation, History and Culture: A Sourcebook. (Lefevere 2003, 24;102-105)<br /> <br /> Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2) The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &quot;author and translator&quot; to &quot;master and slave&quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii) Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.<br /> <br /> Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102)<br /> <br /> In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102) <br /> <br /> Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating the poem in such a way is like &quot;dancing on ropes with fettered legs&quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)<br /> <br /> Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&quot;.(Lefevere 2003, 103) <br /> <br /> As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103)<br /> <br /> Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. &quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&quot;.(Lefevere 2003, 104)<br /> <br /> It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &quot;he may stretch his chain to such a latitude&quot;.(Lefevere 2003, 105) In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. <br /> <br /> Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)<br /> <br /> However, in Chapter Two, in &quot;Dedication&quot; to his translation of the Aeneid, Dryden argued that &quot;We are bound to our author's sense, though with the latitudes already mentioned&quot;.(Lefevere 2003, 24). He compared a translator to a slave and drudged to express his views on the role of translators. &quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&quot; (Lefevere 2003, 24)<br /> <br /> Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies. (Niu Yunping, 2014) <br /> <br /> Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars such as Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014) --[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &quot;classical writers&quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)<br /> <br /> A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &quot;classical writers&quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73) <br /> <br /> About the value of this book, Translation, History and Culture: A Sourcebook is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)<br /> <br /> About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:36, 18 December 2020 (UTC)<br /> <br /> ===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===<br /> <br /> In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &quot;Sixiang&quot; (&quot;thought&quot; in Chinese) refers to &quot;principle&quot; in the West in this book. (Liu Miqing 2005, 2) <br /> <br /> In the FAQ passage, the author explained why he wrote this book. &quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&quot;(Liu Miqing 2005, i) It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. <br /> <br /> Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)<br /> <br /> The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30) The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33) <br /> <br /> He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43)<br /> <br /> The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39)<br /> <br /> Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150)<br /> <br /> Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &quot;emphasis on meaning&quot; and establish a new concept of &quot;emphasis on the meaning in communication&quot; (Liu Miqing 2005,179) <br /> <br /> The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288)<br /> <br /> However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)<br /> <br /> However, he also recognized that the 1960s to 1970s has witnessed great progress in Western translation theory. Liu divides Western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the forms and the effects of communication, the functions of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> Finally, Liu points out that western translation theory is &quot;technology-oriented&quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)<br /> <br /> Finally, Liu points out that Western translation theory is &quot;technology-oriented&quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the superficial, assertive and rational current views and remarks on theory; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &quot;translation and language game&quot;, Liu puts forward that &quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402)<br /> <br /> Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i) This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44)<br /> <br /> Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflects the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)<br /> <br /> Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread throughtout China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflect the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &quot;all is vanity&quot;, &quot;being detached from worldly affairs&quot; and &quot;obedience&quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987) <br /> <br /> In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still touched by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)<br /> <br /> In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still struck by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features change from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but cleared the way to economic growth as well. Meanwhile, integrated translation paved the way for European integration. (Liu Miqing 2005, 101) <br /> <br /> As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the Western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but also cleared the way to economic growth as well. Meanwhile, integrated translation has paved the way for European integration. (Liu Miqing 2005, 101) --[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> The second characteristic of the tradition of Chinese translation is &quot;regulation to perfection&quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51) <br /> <br /> The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101) Moreover, Western translation principles give priority to &quot;Communicative Translation&quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104)<br /> <br /> The third characteristic is &quot;the focus on meaning as well as aesthesis&quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52)<br /> <br /> Wang Guowei pointed out that the word &quot;Nao&quot; in the verse &quot;Hong Xing Zhi Tou Chun Yi Nao&quot; conveys the Jingjie of the whole poem. (Wang Guowei 2017,15) Therefore, if one attempts to translate the poem, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility. It expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)<br /> <br /> Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006)<br /> <br /> Lu Wei and Li Defeng shed light on the topic &quot;translation theories with Chinese characteristics&quot; and argued that Liu Miqing's A Comparative Study of Chinese and Western Translation Principles provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)<br /> <br /> Lu Wei and Li Defeng shed light on the topic &quot;translation theories with Chinese characteristics&quot; and argued that Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'' provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)<br /> <br /> ===4. Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===<br /> <br /> ===4.1 From the aspect of the content===<br /> Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. <br /> <br /> Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracts other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)<br /> <br /> ===4.2 From the aspect of the arrangement===<br /> Both of these two books are arranged in theme, rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. The longer essays are collected in the last chapter. Liu arranges his book differently.<br /> <br /> Both of the two books are arranged in a theme way rather than a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation plays in education, and the translating technique. Liu arranges his book differently for the longer essays are collected in the last chapter.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:07, 18 December 2020 (UTC)<br /> <br /> Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', including the characteristics, origins, schools and limitations of Chinese and western translation, Liu not only quotes other’s statement, he applies many tables to demonstrate his thoughts, which helps the readers better understand translation principles.<br /> <br /> Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', which includes the characteristics, origins, schools and limitations of Chinese and Western translation, Liu not only quotes other’s statement, he also applies many tables to demonstrate his thoughts, which help the readers to better understand the translation principles.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:26, 18 December 2020 (UTC)<br /> <br /> ===Conclusion===<br /> In conclusion, the paper is intended to help readers to understand these two books in depth. After a brief introduction of these two books, it analyzes John Dryden’s three types of translation and his comparison of translator to slave and figures out the reason for the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learns translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.<br /> <br /> In conclusion, the paper intends to help readers to have a profound understanding of the two books. After a brief introduction of these two books, there follows the analysis of John Dryden’s three types of translation and his comparison of translator to slave as well as the figuring out of the reason of the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learn translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:37, 18 December 2020 (UTC)<br /> <br /> ===References===<br /> André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp; Francis e-library.<br /> <br /> André Lefevere &amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;New York: Pinter Publishers.<br /> <br /> Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.<br /> <br /> Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.<br /> <br /> Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp; Francis Group.<br /> <br /> Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp; Publishing Corporation中国对外翻译出版公司.<br /> <br /> Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp; Technology Translators Journal 23(02):11-14+29.<br /> <br /> Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.<br /> <br /> Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.<br /> <br /> Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.<br /> <br /> Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> ==The development and future trend of translation Theory 张慧 Zhang Hui 202070080622 英语笔译==<br /> <br /> ===Abstract===<br /> This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.<br /> ===Key Words===<br /> Chinese and Western, translation theory, development, trend<br /> ===摘要===<br /> 本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。<br /> ===关键词===<br /> 中西方，翻译理论，发展，趋势<br /> ===Introuction===<br /> Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.<br /> <br /> Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)<br /> ===The Four Periods of Development of Chinese Translation Theory===<br /> <br /> Ancient Translation Period<br /> <br /> The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）<br /> <br /> Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &quot;seeking the truth&quot; and &quot;using the vulgar&quot; in the translation process. He also established the principle of &quot;five not to turn,&quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）（quotation missing）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> Translation of the Late Qing Dynasty and Early Republic of China<br /> <br /> A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）<br /> <br /> Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）<br /> <br /> Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）<br /> <br /> His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）（paragraph too long）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.<br /> <br /> Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: <br /> <br /> (1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.<br /> <br /> Translation Theory in the Republic of China<br /> <br /> Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &quot;shenyun translation&quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）<br /> <br /> Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）<br /> <br /> After the Founding of the People’s Republic of China<br /> <br /> The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）<br /> <br /> Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）<br /> ===Prospects for the Development of Contemporary Chinese Translation Theory===<br /> <br /> Emphasis on the study of basic translation theory <br /> <br /> Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> “Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). <br /> <br /> In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). <br /> <br /> Innovation of ontology<br /> <br /> Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) <br /> <br /> Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> ===The Historical Development of Western Translation Theory and Its Classification===<br /> <br /> Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. <br /> <br /> The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)<br /> <br /> <br /> The School of Thought and the Main Characteristics of Western Translation Theory<br /> <br /> Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.<br /> <br /> Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. <br /> <br /> The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. <br /> <br /> These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. <br /> <br /> Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. <br /> <br /> Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. <br /> <br /> The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)<br /> <br /> The Response of Western Translation Theory in China’s Translation Industry<br /> <br /> As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. <br /> <br /> Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)<br /> <br /> ===Analysis of Theoretical Research Status===<br /> <br /> Descriptive Analysis of Translation Theory Research<br /> <br /> First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)<br /> <br /> Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.<br /> Third, researchers and institutions. <br /> <br /> The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)<br /> Systematic Analysis of Translation Theory Research<br /> <br /> First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.<br /> <br /> Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.<br /> <br /> Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.<br /> <br /> Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. <br /> <br /> Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. <br /> <br /> This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.<br /> <br /> Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).<br /> <br /> The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. <br /> <br /> The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.<br /> <br /> ===Trends in Translation Theory Research===<br /> <br /> Interdisciplinary cooperation and integration<br /> <br /> Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. <br /> <br /> In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）<br /> <br /> Return to culture development<br /> <br /> The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.<br /> <br /> Seeking Common Ground while Surviving Differences in Cultural Translation<br /> <br /> Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）<br /> <br /> ===Conclusion===<br /> <br /> From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.<br /> <br /> ===References===<br /> <br /> [1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.<br /> <br /> [2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.<br /> <br /> [3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.<br /> <br /> [4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.<br /> <br /> [5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.<br /> <br /> [6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.<br /> <br /> [7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.<br /> <br /> [8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.<br /> <br /> [9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.<br /> <br /> [10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.<br /> <br /> [11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.<br /> <br /> ==A Cultural Critique of Foreignization and Domestication 吴子佳 Wu Zijia 202070080645==<br /> <br /> 吴子佳 Wu Zijia 202070080645<br /> <br /> ==='''Abstract'''===<br /> Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.<br /> <br /> ==='''Key words'''===<br /> <br /> Domestication foreignization cultural-overloaded words cross-cultural communication.<br /> <br /> ==='''摘要'''===<br /> <br /> 归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。<br /> <br /> ==='''关键词'''===<br /> <br /> 归化，异化，文化负载词，跨文化交流<br /> <br /> <br /> ===''' Introduction of Domestication and Foreignization '''===<br /> <br /> Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）<br /> <br /> On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.<br /> Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）<br /> <br /> For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku）<br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞” cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku）<br /> <br /> ==='''Analysis on Culture Differences in Translation'''===<br /> <br /> Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. <br /> <br /> Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）<br /> <br /> So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &quot;dog&quot; is mostly unpleasant, so the metaphor of &quot;dog&quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）<br /> <br /> On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &quot;dog&quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）<br /> <br /> Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &quot;rice&quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &quot;bread and butter,&quot; &quot;big potato&quot;,”hot potato” and &quot;couch potato.&quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）<br /> <br /> ===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===<br /> <br /> 1. Practice of foreignization and domestication in tourism culture<br /> <br /> The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)<br /> <br /> Example 1:<br /> <br /> 路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字<br /> To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))<br /> Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> Example 2<br /> <br /> 云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。<br /> Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.<br /> Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> <br /> Example 3<br /> <br /> 花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)<br /> 孤山: Gushan (Solitary Hill) <br /> 湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。<br /> Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”<br /> Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> <br /> Example 4 <br /> <br /> Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> Example 5<br /> <br /> 她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。<br /> It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.<br /> The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> Example 6<br /> <br /> 四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。<br /> Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. <br /> By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> 2. Practice of Foreignization and Domestication in Food Culture<br /> <br /> With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）<br /> <br /> For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）<br /> <br /> Example 7<br /> <br /> 番茄牛腩(tomato and beef brisket)<br /> This translation consists of main ingredient and ingredient.<br /> 砂锅面(casserole noodles)<br /> This translation consists of utensils and ingredients.<br /> 淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)<br /> This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.<br /> 炒酸菜, 手抓饼(sauerkraut, shredded cake)<br /> This translation consists of the cooking method or eating method and ingredients.<br /> Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）<br /> <br /> Example 8<br /> <br /> 蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)<br /> This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.<br /> 霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)<br /> This translation is named after historical allusions.<br /> 驴打滚 (打糕) :Donkey roll (beating cake)<br /> This translation is named according to the production process metaphor. <br /> 佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).<br /> This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）<br /> <br /> Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.<br /> <br /> Example 9<br /> <br /> “叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &quot;Baked Chicken&quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)<br /> <br /> <br /> If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)<br /> <br /> Example 10<br /> <br /> Some foods are usually translated in the form of &quot;Hanyu Pinyin + English notes&quot; in order to retain certain characteristics.<br /> For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）<br /> <br /> For example, &quot;豆腐&quot; translates as &quot;Toufu&quot;; &quot;馄饨&quot; translates as &quot;Wonton&quot;. The translation of四一丸子:&quot;Four Happy Meatballs&quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）<br /> <br /> 3. Practice of Foreignization and Domestication in Diplomacy<br /> <br /> Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）<br /> <br /> Example 11<br /> <br /> 我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。<br /> What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.<br /> In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）<br /> <br /> Example 12<br /> <br /> “投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）<br /> To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.<br /> This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）<br /> <br /> Example 13<br /> <br /> 耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）<br /> &quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.<br /> This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）<br /> <br /> Example 14<br /> <br /> “滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）<br /> <br /> &quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.<br /> This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）<br /> <br /> Example 15<br /> <br /> 我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）<br /> <br /> If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&quot;稻草、吸管&quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）<br /> <br /> ===''' Conclusion '''===<br /> <br /> Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.<br /> <br /> ===''' References '''===<br /> <br /> * Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.<br /> * Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.<br /> * Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.<br /> * Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.<br /> * Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.<br /> * Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.<br /> * Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.<br /> * Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.<br /> <br /> ='''Contemporary Translation Studies'''=<br /> <br /> <br /> ==A Study On the Influence of Linguistics on the Construction of Translatology 孔祥慧 Kong Xianghui 202020080608==<br /> &lt;center&gt;孔祥慧 Kong Xianghui &lt;/center&gt;<br /> ==='''Abstract'''===<br /> Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .<br /> <br /> ==='''Key words'''===<br /> Translatology;Linguistic;Discipline Construction<br /> <br /> ===摘要===<br /> 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。<br /> <br /> ===关键词===<br /> 翻译学；语言学；学科构建<br /> <br /> ==='''1.Introduction'''===<br /> Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）<br /> <br /> For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）<br /> <br /> This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.<br /> <br /> ==='''2.Literature review '''===<br /> This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. <br /> <br /> '''2.1Studies on the construction of translatology aboard'''<br /> <br /> In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)<br /> <br /> Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.(Eugene Nida, 1947)<br /> <br /> J.C. Catford in his book ''A Linguistic Theory of Translation'' (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.(J.A Catford , 1965)<br /> <br /> Holmes published ''The Name and Nature of Translation Studies'' at The Third International Conference on Applied Linguistics in 1972, which was &quot;widely regarded as the founding declaration of the discipline of translation studies&quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.( James Holmes,1975)<br /> <br /> In 1982, Wolfram Wilss published ''the Science of Translation: Problems and Methods'', clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.(Wolfram Wilss, 1982)<br /> <br /> Newmark is also a representative figure in the field of translation. In his book ''Exploration of Translation'' (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.( Peter Newmark, 1981)<br /> <br /> Hatim &amp; Mason, whose representative work is ''Discourse and the Translator'' (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.(Hatim &amp; Mason,1990 )<br /> <br /> Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.(Christiane Nord, 1997)<br /> <br /> Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published ''Translation and Conflict'': A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.(Mona Baker, 2006)<br /> <br /> '''2.2 Studies on the construction of translatology at home'''<br /> <br /> In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology in China made great progress. （Tan Zaixi，1989）<br /> <br /> In 1951, Dong Qius, a famous Chinese translator, published his article ''On the Construction of Translation Theory''. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.(Dong Qiusi, 1951)<br /> <br /> In 1987, Tan Zaixi clearly put forward the view that &quot;translation studies are an independent subject&quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)<br /> <br /> In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published ''On Approaches to Translation Studies''. In this paper, Tan mainly distinguished two concepts of &quot;translation&quot; and &quot;translatology&quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.(Tan Zaixi, 1987)<br /> <br /> In the thesis ''An Overview of Western Translation Theory'' (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)<br /> <br /> In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.(Liu Miqing, 1989)<br /> <br /> In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.(Liu Zhongde, 1995)<br /> <br /> At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.( Zhang Meifang, 2005) (Huang Guowen, 2006)<br /> <br /> Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). （Lv Jun，2002）<br /> <br /> Subsequently, Lu published ''Constructing The Linguistic Basis of Translation Studies'' (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)<br /> <br /> Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.(Li Zhenguo ,2017)<br /> <br /> Yi Jing published his doctoral thesis ''On The Construction of Translation Studies'' (2009), which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis ''On The Construction of Translation Studies'' in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.(Yi Jing, 2009)<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. (Zhang Boran,2008) (Yi Jing,2012) <br /> <br /> Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. (Zhao Wenting,2016)<br /> <br /> <br /> Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.(Zou Bing and Mu Lei, 2020) <br /> <br /> In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in ''Translation View in Cognitive Linguistics'' proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition.(Wang Yin,2017)<br /> <br /> Later, many scholars have studied the relationship between cognitive linguistics and translation.Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.(Fan Xiangtao and Lu Bixiao , 2019)<br /> <br /> Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)<br /> <br /> Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)<br /> <br /> From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.<br /> <br /> ==='''3.The Construction of Translatology '''===<br /> <br /> In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.（Yang Zijian，1993）<br /> <br /> '''3.1Translation and Translatology'''<br /> <br /> &quot;Translation&quot; and &quot;translatology&quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)<br /> <br /> In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &quot;translatology&quot; is used to refer to translation studies.&quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&quot;.（Liu Zhongde，1995）<br /> <br /> Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.( Kong Xiangli,2009)<br /> <br /> '''3.2 Three Stages of Translatology'''<br /> <br /> Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies. (Liu Zhongde,1989)<br /> <br /> '''3.2.1 Early translation practice'''<br /> <br /> Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.(Yi Jing,2009)<br /> <br /> The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)<br /> <br /> '''3.2.2 The awareness of an academic discipline'''<br /> <br /> Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &quot;translation must become an independent discipline&quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.(Tan Zaixi, 1987 )<br /> <br /> Such a group of people also appeared in modern China. Lin Yutang used the word &quot;translation studies&quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）<br /> <br /> '''3.2.3 The rapid development stage of translation studies'''<br /> <br /> Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018)<br /> <br /> Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.（Wikipedia）<br /> <br /> ==='''4.The Influence of Linguistics on the Construction of Translatology'''===<br /> <br /> For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.(Zou Bin, Mu Lei, 2020 )<br /> <br /> 4.1 Contributions of early linguists to translation<br /> <br /> As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )<br /> <br /> Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &quot;signifier&quot; and &quot;signified&quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. (Yi Jing, 2009 ) <br /> <br /> Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）<br /> <br /> These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )<br /> <br /> 4.2 Translation studies based on linguistic theory<br /> <br /> In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.(Zou Bin, Mu Lei,2020 )<br /> <br /> 4.2.1 The influence of Structuralist linguistics<br /> <br /> Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &quot;pure linguistic forms&quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.(Lvjun，2004)<br /> <br /> Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &quot;the science of translation&quot; and &quot;dynamic equivalence/Functional equivalence&quot;. Nida 's translation theory has had a great influence in the West and China. ( Yi Jing, 2009)<br /> <br /> Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &quot;six-level equivalence theory&quot; .(Yi Jing,2012)<br /> <br /> Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.（Zou Bin,Mu Lei,2020)<br /> <br /> 4.2.2 The influence of discourse linguistics<br /> <br /> For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002）<br /> <br /> Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics.(Yi Jing, 2009 )<br /> <br /> The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）<br /> <br /> 4.2.3 The influence of contemporary linguistics<br /> <br /> As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）<br /> <br /> Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.(Liao Qiyi， 2000)<br /> <br /> 4.3 The experience of the construction of linguistics<br /> <br /> In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.(Kong Xiangli，2009 )<br /> <br /> 4.4.1 Discipline development<br /> <br /> Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.（Kong Xiangli，2009）<br /> <br /> The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.(Kong Xiangli，2009 )<br /> <br /> 4.4.2 Discipline structure<br /> <br /> Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.(Yang Zijian,1993)<br /> <br /> From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）<br /> <br /> 4.4.3 Development Trend of discipline<br /> <br /> Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.<br /> In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）<br /> <br /> ==='''5.Conclusion'''===<br /> Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. ( Zou Bin, Mu Lei,2020)<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&quot; Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.(Liu Miqing, 1989)<br /> <br /> ==='''References'''===<br /> Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.<br /> <br /> Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.<br /> <br /> Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''<br /> <br /> Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.<br /> <br /> Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. ''当代语言学''[Modern Linguistic] 3-5.<br /> <br /> Fang Xiangtao,Lu Bixiao. (2019). 范祥涛,陆碧霄.认知翻译研究的观念和方法. [Concepts and Methods of Cognitive Translation Studies]. ''外语教学''[Foreign Language Education] 8-12.<br /> <br /> Huang Guowen. 黄国文. (2006). 关于翻译研究语言学探索的几个问题. [Questions about the Linguistic Exploration of Translation Studies]. ''外语艺术教育研究''[Educational Research on Foreign Languages &amp; Arts] 35-41.<br /> <br /> Kong Xiangli. 孔祥立. (2009). 中国翻译学学科建设论. [On the subject construction of Chinese Translation Studies]. 上海外国语大学[Shanghai International Studies University].<br /> <br /> Li Yan, Feng Huali. 李艳,冯华丽.(2020) 国内基于语料库的翻译研究二十年综述(1999—2018). [A review of 20 Years of Corpus-based Translation Studies in China(1999—2018)]. ''成都理工大学学报(社会科学版)'' [Journal of Chengdu University of Technology(Social Science) ]105-110.<br /> <br /> Liu Miqing. 刘宓庆. (1989). 西方翻译理论概评. [An Overview of Western Translation Theory]. ''中国翻译''[Chinese Translators Journal] 2-6.<br /> <br /> Liu Zhongde. 刘重德. (1998). 关于建立翻译学的一些看法. [Views on the Establishment of Translation Studies]. ''外国语(上海外国语大学学报)'' [Foreign Languages (Journal of Shanghai International Studies University)] 27-31+60.<br /> <br /> Lv Jun. 吕俊. (2004). 建构翻译学的语言学基础. [The Linguistic Basis of Translation studies]. ''外语学刊''[Foreign Language Research] 96-101.<br /> <br /> Liao Qiyi. 廖七一. (2000). 语料库与翻译研究[Corpus and Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 380-384.<br /> <br /> O Aiping. 欧爱萍.(2012). 浅谈语言学对翻译学科的影响. [A Brief Discussion on the influence of Linguistics on translation]. ''中外企业家''[Chinese and Foreign Entrepreneurs] 179-180.<br /> <br /> Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.<br /> <br /> Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.<br /> <br /> Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.<br /> <br /> Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.<br /> <br /> Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.<br /> <br /> Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].<br /> <br /> Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.<br /> <br /> Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.<br /> <br /> Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.<br /> <br /> Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.<br /> <br /> Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.<br /> <br /> ==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658==<br /> <br /> ==='''Abstract'''===<br /> <br /> With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.<br /> <br /> ==='''Key words'''===<br /> <br /> Translation Studies, translation education, translation talents<br /> <br /> ==='''题目'''===<br /> <br /> 对中国翻译学学习的反思<br /> <br /> ==='''摘要'''===<br /> <br /> 随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析学习翻译学科目前存在的问题，并提出相关的建议。 <br /> <br /> ==='''关键词'''=== <br /> <br /> 翻译学，翻译教育，翻译人才<br /> <br /> <br /> ==='''1. Introduction'''===<br /> <br /> 1.1. The Connotation of Translation Studies<br /> <br /> Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &quot;''The Name and Nature of Translation Studies''&quot;, is a basic statement of translation studies: it calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, including comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.<br /> <br /> Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. <br /> <br /> Translation Studies can examine the practice and background of translating professional texts (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. <br /> <br /> Learning these contents enables students to apply their theoretical understanding to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually include the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills needed to solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.<br /> <br /> 1.2. The Significance of Translation Study<br /> <br /> With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. At the same time, as today's multicultural and multilingual society requires effective, efficient and understanding communication between languages and cultures, translation skills have become more and more important and desirable. <br /> <br /> As a science, Translation Studies has always had its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. <br /> <br /> Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can understand the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. This is also the necessity for translators to learn Translation Studies.<br /> <br /> ==='''2. The Development Process of Translation Studies in China'''===<br /> <br /> Translation activities has appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, the flourishing period of Translation Studies.<br /> <br /> 2.1. The Exploration Period of Translation Studies <br /> <br /> In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, Almost no. What we have are some translation regulations and fragments of experience for temporary reference.&quot; He clearly called for the establishment of &quot;a complete translation theory system&quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. <br /> <br /> The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared in history.<br /> <br /> However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have become increasingly single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc.<br /> <br /> At that time, because a large number of people who understand foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to strengthen foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under foreign language and literature, but the distinction between translation teaching and language teaching has gradually become clear.<br /> <br /> 2.2. The Development Period of Translation Studies<br /> <br /> At the beginning of this period, it was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. <br /> <br /> At this stage, some masters and doctors in translation studies joined the construction team translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation desperately. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of &quot;''China Translator''&quot; in 2004 come to congratulate.<br /> <br /> Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.(Huang Zhongqian, Zhang Xiao 2020) Translation research ideas, methods, space and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.<br /> <br /> 2.3. The Flourishing Period of Translation Studies<br /> <br /> In 2011, the Ministry of Education adjusted the discipline catalog and listed &quot;Translation Studies&quot; as a second-level subject under the first-level discipline of &quot;Foreign Languages and Literature&quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction. <br /> <br /> <br /> In the flourishing period, the construction of translation disciplines and the development of translation majors in China have shown a new look. Many levels have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training. <br /> <br /> There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.<br /> <br /> ==='''3. Challenges of Learning Translation Studies in China'''===<br /> <br /> The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. China's translation discipline has now entered a new stage, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.<br /> <br /> 3.1. Translation Education<br /> <br /> With the establishment of the status of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the training of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better. <br /> <br /> However, China's translation education started and developed after the reform and opening up, is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, and systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.<br /> <br /> 3.1.1. Orientation of the Cultivation of Translation Talents<br /> <br /> At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to the unclear concept of the cultivation of translation talents. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation professional teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market. (Zhong Weihe 2019)<br /> <br /> Due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.<br /> <br /> 3.1.2. Faculty Resources<br /> <br /> The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. The problem of translation teachers has always been a bottleneck problem that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. <br /> <br /> Recent evaluation data show that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &quot;''National Standard of Part-time Teacher in MTI Education'' &quot;. (Zhong Weihe 2019) In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.<br /> <br /> 3.1.3. Teaching method<br /> <br /> Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2020) <br /> <br /> This kind of teaching method that ignores student autonomy is entirely a teacher-centered teaching model, which will place too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.<br /> <br /> 3.1.4 Translation Teaching Research<br /> <br /> The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is rare. <br /> <br /> Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play.(Bo Zhenjie, Li Heqing 2011) However, combining actual translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but not deep into the actual situation.<br /> <br /> 3.2. Students<br /> <br /> The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.<br /> <br /> 3.2.1. Low level of commitment to translation learning<br /> <br /> Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. <br /> <br /> Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. <br /> <br /> As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between the word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.<br /> <br /> 3.2.2. Insufficient background knowledge <br /> <br /> Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not grasp sufficient background information. <br /> <br /> With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. (Xie Zhentian, 2015) Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.<br /> <br /> 3.2.3. Neglect of theoretical knowledge<br /> <br /> At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）<br /> <br /> ==='''4. Suggestions for the Learning of Translation Studies'''===<br /> <br /> In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved according to the development of times. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote the development of Translation Studies in China.<br /> <br /> 4.1. Translation Education<br /> <br /> 4.1.1. Improve Teaching Mode<br /> <br /> The teaching model is an important basic guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation or current affairs. <br /> <br /> Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to make something new. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. <br /> <br /> The objective teaching method is a teaching mode that can be introduced in translation teaching. This type of mode attaches great importance to the construction of learning environment and the value of teachers' guidance to students. (Ou Yonghua 2019) This is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.<br /> <br /> 4.1.2. Strengthen Faculty Force<br /> <br /> Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. <br /> <br /> Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and first-line translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） <br /> <br /> Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)<br /> <br /> 4.1.3. Broaden the academic vision of translation<br /> <br /> Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline,which carry out the provision of roadmap for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)<br /> <br /> The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary and integration, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)<br /> <br /> 4.2. Students <br /> <br /> The quality of translation talents plays a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.<br /> <br /> 4.2.1. Expanding knowledge<br /> <br /> Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future, in addition to having a solid foundation in language ability, they should also take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills. <br /> <br /> A very good way to expand their knowledge is to improve their search ability. Search ability, specifically, refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students is urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)<br /> <br /> 4.2.2. Emphasize theory and practice more<br /> <br /> Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics, not only the translation skills and theories，but also practice more. Theories that are out of practice cannot keep up with the development of the times. <br /> <br /> Students must spend enough time in practicing. They can go to the front line of production or go deep into all aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.<br /> <br /> ==='''5.Conclusion'''===<br /> <br /> This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the concept of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Those engaged in translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and so on. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. <br /> <br /> From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.<br /> <br /> President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies were not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. <br /> <br /> Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, draw on the latest foreign translation theories, combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. (Zhong Weihe, Zhao Tianyuan 2020) The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.<br /> <br /> ==='''References'''===<br /> Holmes, James S. (1972). The Name and Nature of Translation Studies. ''Papers on Literary Translation and Translation Studies''. 67–80.<br /> <br /> Bo Zhenjie, Li Heqin.薄振杰,李和庆.(2011).关于当前中国翻译教学研究的思考.[ Reflection on the Current Research of Translation Teaching in China].外语界[''Foreign Language World''] 76-83.<br /> <br /> Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].<br /> <br /> Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.<br /> <br /> Jiang Feifei.姜菲菲.(2019).中国文化走出去背景下对翻译学科的综述. [A Summary of Translation Studies from the Background of Outputting Chinese Culture].校园英语[''English Campus'']7-8. <br /> <br /> Lan Hongjun.蓝红军.(2018)从学科自觉到理论建构:中国译学理论研究(1987-2017). [Theoretically Oriented Translation Studies in China: 1987 - 2017].中国翻译[''Chinese Translators Journal'']7-16<br /> <br /> Mu Lei, Li Xixi.穆雷, 李希希.(2019).中国翻译教育研究:现状与未来.[ Research on Translation Education in China: Status Quo and Future] .外语界[''Foreign Language World''] 24-32.<br /> <br /> Ou Yonghua.(2019).新时期中国翻译教学研究思考概述. [An Overview of Researches on Chinese Translation Teaching in the New Era].课程教育研究[''Course Education Research''] 13.<br /> <br /> Xi Jinping.习近平.(2016).在哲学社会科学工作座谈会上的讲话.[ Speech at the Symposium on Philosophy and Social Sciences].新华网[xinhuanet].<br /> <br /> Xie Zhentian.谢天振.(2015).翻译巨变与翻译的重新定位与定义——从2015年国际翻译日主题谈起.[ Great Changes in Translation and Repositioning and Definition of Translation——Starting from the theme of the International Translation Day in 2015].东方翻译[''East Journal of Translation''] 4-8. <br /> <br /> Wang Baigula.王白古拉.(2018).中国翻译教学现状与复合型翻译人才培养. [The Status Quo of Translation Teaching in China and the cultivation of Interdisciplinary Translators].文存阅刊[''Wen Cun Journal''] 87.<br /> <br /> Wang Na.王娜. (2020).MTI在校生搜索能力不足成因分析. [An Analysis of the Causes of Insufficient Searching Ability of MTI Students].海外英语[''Overseas English''] 194-195.<br /> <br /> Zhong Weihe.仲伟合.(2019).改革开放40年我国翻译专业教育:成就、挑战与发展. [China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.<br /> <br /> Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.<br /> <br /> ==The influence of translator's cultural identity on translation 周玉娟 Zhou Yujuan== <br /> &lt;center&gt;周玉娟 Zhou Yujuan 202020080674 亚非语言文学波斯语方向 .&lt;/center&gt;<br /> <br /> &lt;center&gt;The influence of translator's cultural identity on translation.&lt;/center&gt;<br /> <br /> ===Abstract===<br /> Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.<br /> <br /> ===Keywords===<br /> translation; translator; cultural identity; Shakespeare's plays<br /> <br /> ===题目===<br /> 译者文化身份对翻译的影响<br /> <br /> ===摘要===<br /> 梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。<br /> <br /> ===关键词===<br /> 翻译；译者；文化身份；莎士比亚剧<br /> <br /> ===Introduction===<br /> Translating a work is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important active role in both translating the content and interpreting it, and the translator is the first person who is in direct contact with the original text.<br /> <br /> Translating a work that is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important role in both translating and interpreting, and the translator is the first person who is in direct contact with the original text.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 14:49, 18 December 2020 (UTC)<br /> <br /> <br /> Benjamin, the famous German literary critic, once said : &quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &quot;cultural identity&quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)<br /> <br /> There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.<br /> <br /> === Introduction to the identity of the translator===<br /> Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.<br /> <br /> Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.<br /> <br /> (While your first quote here may be intended to explain to the reader where the concept of cultural identity came from, I suggest you explain the meaning of the concept proposed by the cited author.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> &quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&quot; (Xi Yongji. 2007:245)<br /> <br /> ====Zhu Shenghao's Cultural Identity====<br /> Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.<br /> <br /> In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.<br /> <br /> Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on naturalization strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.<br /> <br /> （Be clear about what exactly domestication or foreignization in your text means and who defines it. Use word “domestication” instead of “naturalization”in general.）--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> ====Liang Shiqiu's Cultural Identity====<br /> Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.<br /> <br /> However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &quot;All civilization is the original creation of a very few geniuses&quot;, &quot;literature and art are the original creation of a few geniuses&quot;, &quot;there is no literature and art for the majority, and literature and art are not for the majority &quot;. (Liang Shiqiu: R.O.C. 23) &quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&quot; <br /> <br /> However, it is worth mentioning that Liang believed that literature is a creation of genius. Liang repeatedly said, &quot;All civilization is the original creation of a very few geniuses&quot;, &quot;literature and art are the original creation of a few geniuses&quot;, &quot;there is no literature and art for the majority, and literature and art are not for the majority &quot;. (Liang Shiqiu: R.O.C. 23) &quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&quot; --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12) <br /> <br /> We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &quot;genius literature&quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese literary world. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.<br /> <br /> We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &quot;genius literature&quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese translation. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> ====Foreignization and domestication Strategies====<br /> According to Venuti, domestication is &quot;bringing the original author into the desired language and culture of the translation&quot;, while dissimilation is &quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&quot; (Venuti, 1995:20). (Venuti, 1995:20)<br /> <br /> According to Venuti, domestication is &quot;bringing the original author into the desired language and culture of the translation&quot;, while dissimilation is &quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&quot; (Venuti, 1995:20). --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.<br /> <br /> The method of Foreignization is: &quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.<br /> (Here you used foreignization ,but above the paper,you use alienation,The specific concepts of context should be unified.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)<br /> <br /> ===The cultural identity of translators in translation===<br /> First, the translator is the second pair of eyes of the reader. &quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.<br /> <br /> Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.<br /> (Here world literature is not very accurate, maybe you can say world translation)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> ====In terms of the original intention of translation====<br /> The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &quot;interest&quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao himself said, &quot;I love Shakespeare's plays so much and so only that I have tried to read the whole text at least ten times from the beginning to the end. ......&quot; Zhu's love for Shakespeare is so strong that &quot;He was so passionate about Shakespeare that he would not stop reading Shakespeare, not eating it. <br /> <br /> The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &quot;interest&quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao said, &quot;I love Shakespeare's plays so much so that I have tried to read the whole text at least ten times from the beginning to the end. ......&quot; Zhu's preference for Shakespeare is so obvious that &quot;He was so passionate about Shakespeare that he would not stop reading and studying Shakespeare assiduously.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.<br /> <br /> Liang Shiqiu believes that there is a distinction between elegant and vulgar literature, genius is to appreciate literature, the general public to read are popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &quot;the highest art only a few people can understand ......, literature and art is not the majority.&quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &quot;literature is created by genius&quot;.<br /> <br /> Liang Shiqiu believed that there is a distinction between elegant and vulgar literature, genius always appreciate literature, the general public usually read popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &quot;only a few people can understand the highest art ......, literature and art is not for the majority.&quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &quot;literature is created by genius&quot;.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> When he studied at Harvard University, he took the course &quot;Literary Criticism after the Sixteenth Century&quot; by the American neoclassicist Byrd Byrd, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &quot;preserve the most authentic things&quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &quot;hard translations&quot; and &quot;bent translations&quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)<br /> (Here maybe you want to say Irving Babbitt not Byrd, plz check it again)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> ====In terms of the content of the translation (taking the translation of Shakespeare as an example)====<br /> Zhu Shenghao stated at the beginning of his translation: &quot;My aim in translating this book is, first, to maintain the charm of the original work to the greatest extent possible, and then to consider the second point if it is not feasible, that is, to convey faithfully the meaning and feelings of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao's translation of Sha plays more attention to the performance function of drama.<br /> <br /> Zhu Shenghao stated at the beginning of his translation: &quot;In translating this book, my aim is to maintain the charm of the original work as much as possible, and then to consider the second point if it is not feasible, that is, to convey the meaning and feelings faithfully of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao paid more attention to the performance function of drama in translation of Shakespeare’s plays.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)<br /> <br /> For example: ( the translation of Zhu Shenghao)<br /> <br /> EGEUS: Stand forth，Demetrius． My noble lord，<br /> 伊吉斯:走上前来，狄米特律斯。殿下，这个人，<br /> <br /> This man hath my consent to marry her．<br /> 是我答应把我女儿嫁给他的<br /> <br /> Stand forth，Lysander．<br /> 走上前来，拉山德。<br /> <br /> And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）<br /> 殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）<br /> <br /> In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &quot;purified&quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. <br /> For example, his translation. <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)<br /> <br /> 拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!<br /> 否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。<br /> <br /> Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &quot;faithfulness and fidelity&quot;. The style of &quot;faith&quot; and &quot;faithfulness&quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.<br /> <br /> First: Stay true to the original text and try not to delete or subtract from it.For example:<br /> <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)<br /> <br /> Translation of Liang Shiqiu:<br /> <br /> 赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，<br /> <br /> 否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。<br /> <br /> HELENA She was a vixen when she went toschool: <br /> <br /> And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)<br /> <br /> 海 上学时她就是个狐狸精。<br /> <br /> 她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。<br /> <br /> Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &quot;Shakespearean&quot;. &quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&quot;. (Liang Shiqiu. 1966) <br /> Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. <br /> <br /> For example, a fragment of Liang Shiqiu's translation of Hamlet.<br /> <br /> Queen. There is a willow grows aslant a brook,<br /> That shows his hoar leaves in the glassy stream;<br /> There with fantastic garlands did she come,<br /> Of crow-flowers, nettles, daisies, and long purples,<br /> That liberal shepherds give a grosser name.<br /> But our cold maids do dead man’s fingers call them:<br /> There, on the pendent boughs her coronet weeds<br /> Clambering to hang ,an envious sliver broke,<br /> When down her weedy trophies and herself<br /> Fell in the weeping brook. Her clothes spread wide;<br /> And, mermaid-like, awhile they bore her up;<br /> Which time she chanted snatches of old tunes; As one<br /> incapable of her own distress,<br /> Or like a creature native and indu’d<br /> Unto that element: but long it could not be<br /> Till that her garments ,heavy with her drink,<br /> Pull’d the poor wretch from her melodious lay<br /> To muddy death.<br /> （shakespeare, hamlet, act Ⅳ, scenceⅦ）<br /> <br /> The translation of Liang Shiqiu：<br /> (You can say Liang’s version :)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)<br /> 河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。<br /> <br /> ===Conclusion===<br /> The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. <br /> <br /> For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. <br /> <br /> By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.<br /> <br /> ===References===<br /> <br /> Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．<br /> <br /> Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)<br /> <br /> Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary]. 台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.<br /> <br /> Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.<br /> <br /> Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128.. <br /> <br /> Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.<br /> <br /> Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.<br /> <br /> Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．<br /> <br /> Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．<br /> <br /> Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004<br /> <br /> Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.<br /> <br /> Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001<br /> <br /> Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．<br /> <br /> Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.<br /> <br /> ==Descriptive translation studies 曹润鑫 Cao Runxin==<br /> <br /> ===Abstract===<br /> The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.<br /> <br /> ===Key words===<br /> Descriptive translation studies; Translation studies<br /> <br /> ===摘要===<br /> 描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍<br /> <br /> ===关键字===<br /> 描述翻译学；翻译研究<br /> <br /> ===Introduction===<br /> Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &quot;faithfulness&quot; and &quot;equivalence&quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.<br /> <br /> Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &quot;cultural shift&quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &quot;faithful&quot; and &quot;reciprocal&quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.<br /> <br /> In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &quot;how translation should be&quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.<br /> <br /> ===Tuli and ''Descriptive translation''===<br /> The concept of &quot;descriptive translation&quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &quot;The Name and Reality of Translation Studies&quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.<br /> <br /> Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.<br /> <br /> In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&quot;. [3]<br /> <br /> According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &quot;(more) objective&quot; norms, while the latter are &quot;(more) subjective&quot; i.e. &quot;less objective&quot;. The concept of the This concept is very important in its theoretical system.<br /> <br /> He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]<br /> <br /> According to Tuli, &quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.<br /> Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &quot;translations&quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent. &quot;Exoticism&quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &quot;translation tone&quot; in the text. Due to the real existence of &quot;translation cavity&quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &quot;translation cavity&quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.<br /> <br /> Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &quot;credible&quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112<br /> <br /> According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.<br /> <br /> Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.<br /> <br /> In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &quot;meta-prescriptive&quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &quot;translation studies can never be merely descriptive&quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.<br /> <br /> === Hermanns and ''Translation in Systems''===<br /> The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.<br /> <br /> Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &quot;norm&quot; and Chesterman's &quot;norm&quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.<br /> <br /> The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &quot;reciprocity&quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &quot;norm&quot; and introduces the &quot;norm&quot; proposed by Tully and the &quot;norm&quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.<br /> <br /> Scholars who study descriptive translation have proposed that literature should be regarded as &quot;a complex and dynamic system&quot;, and that literary translation studies should &quot;adopt a descriptive, target-language-based, functional and systematic research approach&quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.<br /> <br /> ===Conclusion===<br /> Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.<br /> <br /> ===References===<br /> [1]李红满.论当代西方翻译研究范式的转变[J].外语与翻译, 2002 (2) .<br /> <br /> [2]张美芳.翻译学的目标与结构——霍姆斯的译学构想介评[J].中国翻译, 2000 (2) .<br /> <br /> [3]Toury, Gideon.Descriptive Translation Studies and Beyond[M].Shanghai:Shanghai Foreign Language Education Press, 2001.<br /> <br /> [4]林克难.翻译研究:从规范走向描写[J].中国翻译, 2001 (6) .<br /> <br /> [5]Vermeer, Hans J.A Skopos Theory of Translation[M].Heidellburg:TEXT-con, 1996.<br /> <br /> [6]Venuti.Lawrence.The Translator’s Invisibility[M].A History of Transla-tion.London&amp;New York:Routledge, 1995.<br /> <br /> [7]Snell-Homby, Mary.Translation Studies.AnIntegrated Approach[M].Re-vised ed.Amsterdam:John Benjamins, 1995.<br /> <br /> [8]Hemans, Theo, ed.The manipulation of Literature[M].London&amp;Sydney:Croom Helm, 1985.<br /> <br /> [9]韩子满, 刘芳.描述翻译研究的成就与不足[J].外语学刊, 2005 (3) .<br /> <br /> [10]谢天振.翻译研究新视野[M].青岛:青岛出版社, 2003.<br /> <br /> [11]张南峰.从梦想到现实——对翻译学科的东张西望[J].外国语, 1998 (3) .<br /> <br /> ==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==<br /> <br /> &lt;center&gt;肖伊宁 Xiao Yining 202020080655&lt;/center&gt;<br /> <br /> ===Abstract:=== <br /> This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and deeply understand the status of descriptive translation studies.<br /> <br /> ===摘要：===<br /> 本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，深刻理解描写性翻译研究的地位。<br /> <br /> ===Key words:===<br /> descriptive translation studies; normative translation studies; limitation; necessity; relationship.<br /> <br /> ===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.<br /> <br /> ===Chapter 1 Introduction===<br /> <br /> Translation has a history of more than 2000 years. In the long-term and varied translation activities of translation, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）<br /> <br /> Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &quot;faithfulness, expressiveness and elegance&quot;, Lu Xun's &quot;rahter to be faithful than smooth&quot; and Lin Yutang's &quot;faithfulness smoothness elegance&quot;. （Liao Qiyi 2002，6）<br /> <br /> In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) <br /> <br /> However, these translation studies are actually &quot;normative&quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &quot;misleading readers&quot; or &quot;unfaithful to the original work&quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)<br /> <br /> ===Chapter 2 The emergence and development of descriptive translation studies===<br /> <br /> In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.<br /> <br /> ====2.1 John MacFarlane====<br /> <br /> In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &quot;ideal&quot; or &quot;real&quot; translation.(Lin Kenan 2001, 44)<br /> <br /> Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)<br /> <br /> ====2.2 Firth====<br /> <br /> Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) <br /> <br /> ====2.3 James Holmes====<br /> <br /> With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）<br /> <br /> &quot;He divides translation studies into three categories:<br /> (1) Description: to describe the special phenomenon of translation in real life;<br /> (2) Theory: establishing the principle of explaining translation phenomena;<br /> (3) Application: the information obtained from the former two is used in translation practice and translator training.&quot;（Liao Qiyi 2002，54） <br /> <br /> He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. <br /> <br /> For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&quot;（Liao Qiyi 2002，55）<br /> <br /> Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）<br /> <br /> Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&quot; (Hermans 1985, 14). <br /> <br /> However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.<br /> <br /> ====2.4 Polysystem Theory====<br /> <br /> In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &quot;The polysystem（多元体系派） is not satisfied with the achievements made by the translation studies（翻译研究派）. It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &quot;polysystem&quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&quot;（Liao Qiyi 2002, 59）<br /> <br /> According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）<br /> <br /> Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）<br /> <br /> ====2.5 Gideon Toury<br /> <br /> Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）<br /> <br /> This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）<br /> <br /> Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &quot;one to one correspondence&quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）<br /> <br /> In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &quot;International Journal of translation studies&quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. <br /> <br /> Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &quot; (Toury 2012. xii)<br /> <br /> He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.<br /> <br /> ====2.6 Snell-Hornby<br /> <br /> In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. <br /> <br /> Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &quot;Description&quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)<br /> <br /> ===Chapter 3 The relationship between normative translation studies and descriptive translation studies===<br /> <br /> ====3.1 The value of descriptive translation studies and the limitations of normative translation studies====<br /> <br /> In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.<br /> <br /> Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) <br /> <br /> Maria Tymoczko believes that：&quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.<br /> <br /> Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) <br /> <br /> Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：<br /> <br /> (1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. <br /> <br /> However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &quot;translation&quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)<br /> <br /> (2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &quot;the wrong way of translation&quot;. (Liu Yingkai 1987, 22) <br /> <br /> The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &quot;the gain and loss of a work should be measured from the perspective of history&quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) <br /> <br /> ====3.2 The limitations of descriptive translation studies and the value of normative translation studies====<br /> <br /> First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory has certain progressive significance and reference, it is not perfect.(Liu Zongyan 2008, 201) <br /> <br /> Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &quot;detached and purely descriptive attitude.&quot; ( Hermans 1999 , 36) <br /> <br /> This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &quot;meta - prescriptive&quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &quot;translation studies can never be merely descriptive&quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)<br /> <br /> On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. <br /> Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)<br /> <br /> ====3.3 The relationship between prescriptive translation studies and descriptive translation studies====<br /> <br /> In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )<br /> <br /> The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.<br /> <br /> ===Chapter 4 Conclusion=== <br /> <br /> Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.<br /> <br /> Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.<br /> <br /> Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.<br /> <br /> ===Chapter 5 Reference===<br /> Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.<br /> <br /> J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press, 20.<br /> <br /> Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.<br /> <br /> Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.<br /> <br /> Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.<br /> <br /> Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.<br /> <br /> Snell-Hornby.(1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.<br /> <br /> Han Ziman 韩子满，Liu Fang 刘芳（2005）. 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).<br /> <br /> Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]<br /> <br /> Lin Kenan 林克难. (2001).翻译研究：从规范走向描写[Translation Studies: From the Prescriptive <br /> to the Descriptive Approach].中国翻译[Chinese Translation Journal](06).<br /> <br /> Liu Zongya 刘宗衍. 浅谈翻译理论的“规范”性[On the &quot;Normative&quot; Nature of Translation Theory]. 科技资讯[Science &amp; Technology Information]<br /> <br /> Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).<br /> <br /> Zhang Nanfeng 张南峰.(2002).多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).<br /> <br /> ==Translation Strategies Sagara Seydou, Student No :201911080004, Major ;Translation Studies== <br /> <br /> Translation Strategies <br /> <br /> Abstract <br /> <br /> Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.<br /> <br /> Key words: translation strategies and translational problems.<br /> <br /> This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;<br /> <br /> Introduction<br /> <br /> The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers define them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical significance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)<br /> <br /> Content<br /> <br /> Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classifications from different perspectives. For example, Lörscher’s (1991) classification is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classifications. It seems that clear-cut definitions of these terms might not work as well as prototype definitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)<br /> The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reflect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reflects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)<br /> <br /> The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp fiction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp; Munday,2004, p. 230)<br /> Having discussed the two prototype strategies, let us turn to the definitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few defining characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difficulty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).<br /> Problems, according to their scale, can be divided into global (or general) problems and local (or specific) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “specific activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle specific problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by specific techniques, which affect the translation result and the micro-units of the text, and are classified by comparison with the source text (Molina &amp; Hurtado Albir, 2002, p. 509).<br /> <br /> As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural filtering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.<br /> However, this is not consonant with the dictionary definitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is defined as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) defines translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will influence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identified the following text processing strategies: (a) problem identification, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal significant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can find out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280). <br /> Darwish (2008) identifies four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70).<br /> However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might influence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difficulty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.(Lörscher, 1991, p. 70).<br /> <br /> Conclusion<br /> <br /> In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.<br /> <br /> References<br /> <br /> Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp; J. Laffling(Eds.), Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=115004 2020-12-18T16:01:46Z

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

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=114967 2020-12-18T15:26:52Z

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

Sagara Seydou 3 https://bou.de/u/index.php?title=History_of_Translation_Studies_10&diff=114299 2020-12-18T06:10:03Z

<p>Sagara Seydou 3: </p> <hr /> <div>这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> *Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> *Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]<br /> *Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].<br /> ='''Functional Equivalence'''=<br /> <br /> <br /> == On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==<br /> <br /> ===Abstract===<br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.<br /> <br /> ===key words===<br /> <br /> functional equivalence, formal equivalence, translation<br /> <br /> ===摘要===<br /> 翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。<br /> <br /> ===关键字===<br /> 功能对等，形式对等，翻译<br /> <br /> ===Introduction===<br /> <br /> As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. <br /> <br /> Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.<br /> <br /> ===Functional Equivalence===<br /> In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)<br /> <br /> Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). <br /> <br /> To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. <br /> Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.<br /> <br /> ===Formal equivalence===<br /> <br /> Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） <br /> <br /> Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.<br /> <br /> From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.<br /> <br /> ===Relationship between functional equivalence and formal equivalence===<br /> In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.<br /> <br /> For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.<br /> <br /> Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.<br /> <br /> Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.<br /> <br /> Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.<br /> <br /> ===Application of functional equivalence and functional equivalence in translation===<br /> <br /> Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.<br /> <br /> ====Lexical equivalence====<br /> <br /> Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.<br /> <br /> Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. <br /> <br /> It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. <br /> “When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”<br /> In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.<br /> <br /> ====Syntax equivalence====<br /> <br /> Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: <br /> “Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”<br /> Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。<br /> <br /> We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.<br /> When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. <br /> There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:<br /> “You’re not a student,are you?”<br /> “Yes, I am.” <br /> Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.<br /> <br /> ====Texual equivalence====<br /> <br /> Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. <br /> <br /> Example: “祥子！”她往前凑了凑：“我有啦！” <br /> “有了什么？”他一时蒙住了。<br /> “这个！”她指了指肚子。“你打主意吧！”<br /> Translation: “Xiangzi,” she came closer. “I am in trouble!”<br /> “What trouble?” He was startled.<br /> “This!” She pointed her belly. “What was you going to do about it?”<br /> According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.<br /> <br /> In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner connotation it bears. <br /> Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. <br /> Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.<br /> <br /> The last element we should never ignore is cultural context given that there are great cultural differences between English and Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.<br /> Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.<br /> We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.<br /> <br /> ====Stylistic equivalence====<br /> <br /> Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.<br /> Example: 清明<br /> 杜牧<br /> 清明时节雨纷纷，路上行人欲断魂。<br /> 借问酒家何处有? 牧童遥指杏花村。<br /> Translation by Wu Juntao:<br /> The Pure Brightness Day<br /> By Du Mu<br /> It drizzles thick and fast on the Pure Brightness Day,<br /> I travel with my heart lost in dismay.<br /> “Is there a public house somewhere, cowboy?”<br /> He points at Apricot Village faraway.<br /> <br /> In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..<br /> Translation by Xu Yuanchong:<br /> The Mourning Day<br /> By Du Mu<br /> A drizzling rain falls like tear on the Mourning Day;<br /> The mourner’s heart is going to break on his way.<br /> Where can a wineshop be found to drown his sad hours?<br /> A cowherd points to a cot ’mid apricot flowers. <br /> <br /> In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.<br /> <br /> ===Conclusion===<br /> <br /> Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation. <br /> <br /> Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)<br /> <br /> ===References===<br /> <br /> Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.<br /> <br /> Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.<br /> <br /> Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．<br /> <br /> Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.<br /> <br /> Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.<br /> <br /> Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &quot;Faithfulness, Expressiveness and Elegance&quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.<br /> <br /> Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.<br /> <br /> Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.<br /> <br /> Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.<br /> <br /> Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.<br /> <br /> 尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．<br /> <br /> Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).<br /> <br /> UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．<br /> <br /> == My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==<br /> <br /> == Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==<br /> &lt;center&gt;肖茜 Xiao Xi No.202020080654&lt;/center&gt;<br /> ===Abstract===<br /> Hao Jingfang's science fiction &quot;Folding Beijing&quot; won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu's rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of the theory of Nida's functional equivalence to &quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&quot;. The theory of Nida's functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu's application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.<br /> <br /> ===Key words===<br /> Functional Equivalence; Folding Beijing; meaning; style; culture<br /> <br /> ===题目===<br /> 刘宇昆翻译中的功能对等-以《北京折叠》为例<br /> ===摘要===<br /> 郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。<br /> <br /> ===关键词===<br /> 功能对等；《北京折叠》；意义；风格；文化<br /> <br /> ===Introduction===<br /> In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.<br /> <br /> This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers' understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida's functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.<br /> <br /> ===1. Eugene A. Nida and His Theory of Functional Equivalence===<br /> <br /> Eugene A. Nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work Toward a Science of Translating. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers' response, not just the equivalence of content and form. In his book The Theory and Practice of Translation, Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida's dynamic equivalence theory requires that the translation readers' response to the translation should be consistent with that of the original readers. <br /> <br /> Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &quot;The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers did&quot; (Nida 1993:118). <br /> <br /> In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the receptor-language reader's response, (3) the receptor language and culture as a whole. Nida defined the reader's response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader's response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.<br /> <br /> ===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===<br /> <br /> ====2.1 Functional Equivalence from Aspect of Meaning====<br /> <br /> Nida and Taber (2004：12) stated that &quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&quot; Meaning in this chapter will from three levels to discuss: words, sentences and passages, in other words, these three levels is a detailed analysis of the lexicon, syntax and discourse. According to the functional equivalence theory, translation should not only achieve literal equivalence, but also discover the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in the translation of Folding Beijing from lexical, syntactic and discourse perspectives.<br /> <br /> =====2.1.1 Lexical level=====<br /> <br /> In literary translation, how to correctly interpret the meaning of a word or phrase is always a difficult problem. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is most appropriate. In the English translation of Folding Beijing, there are many examples to illustrate how the translation achieves functional equivalence with the source text in the lexical level as follows:<br /> <br /> Example 1:<br /> “食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）<br /> <br /> &quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&quot; (Ken Liu 2015)<br /> <br /> Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &quot;the plastic tables at the food hawker stalls&quot; for readers to understand. &quot;Sour and spicy powder&quot; is originally a kind of Chinese noodles. The author uses &quot;hot and sour rice noodles&quot; to describe the taste of sour and spicy and the raw material of noodles is rice.<br /> <br /> Example 2:<br /> “这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）<br /> <br /> &quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&quot; (Ken Liu 2015)<br /> <br /> The translator uses &quot;a toothpick dangling between his lips&quot; to describe the action of picking teeth，it's more detailed and vivid. “懒散不修边幅” is translated into &quot;lazy and slovenly&quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &quot;the appearance of being perpetually grumpy&quot;, in this way, the translation better expresses the author's intention to express the meaning of looking bad-tempered. <br /> <br /> Example 3:<br /> “霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）<br /> <br /> &quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&quot; (Ken Liu 2015)<br /> <br /> The author did not translate directly “闪烁的小灯” into &quot;the little flashing lights &quot;, but &quot;Tiny flashing LEDs&quot;. This is also because of the translator's own understanding of the text, he wants the readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &quot;lapi&quot;, which is to show the original meaning.<br /> <br /> =====2.1.2 Syntactic Level=====<br /> <br /> Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese. The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, conjunctions and relationship between words in English use frequency is very high. Secondly, English speakers put attention on object consciousness and used to the order from a small object to a large one, from specific to general; In Chinese texts, there is usually a temporal, spatial or causal sequence of time sequence. Finally, English language usually emphasizes important information at the beginning of a sentence, while the Chinese language tends to process information from the obsolete to the fresh for the purpose of impressing people.<br /> <br /> In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a proper form. The following are some examples to show that how English translation oh Folding Beijing achieves functional equivalence to the original text in syntactic level: <br /> <br /> Example 1:<br /> “ ‘现在政府太混沌了，做事太慢，僵化，体系也改不动。’他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。’他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’” （Jingfang Hao 2016:15）<br /> &quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&quot; (Ken Liu 2015)<br /> We can see that in the translation of this paragraph, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the readers have supplemented and translated this sentence into &quot;I'll also work to expand the pool of candidates for government service and promotion&quot;, The translator perfectly explains what &quot;放开&quot; means.<br /> <br /> Example 2:<br /> “昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）<br /> <br /> “Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) <br /> <br /> In this passage, the text refers to “过去” twice with emphasis. In order to achieve the same emphasis in the English translation, the author chose to adjust the word order, placing &quot;In the dim lamplight&quot; between the two sentences, rather than using a subordinate clause like &quot;…childhood that…&quot;.<br /> <br /> Example 3:<br /> “再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）<br /> <br /> &quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&quot; (Ken Liu 2015)<br /> <br /> In this passage, we can see clearly that English has many more conjunctions than Chinese, like &quot;as though&quot;, &quot;from where&quot; and &quot;that&quot;, this is because of the difference in syntax between the two languages.<br /> <br /> =====2.1.3 Discourse level=====<br /> <br /> Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &quot;rewrite&quot; to make the translated text acceptable to readers. In literary translation, the translator should pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in the level of discourse. The following part selects a dialogue and its English translation in Folding Beijing as an example of literary translation to achieve functional equivalence in discourse level.<br /> <br /> “所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”<br /> <br /> 老刀没有动筷子。他很饿，可是他觉得这时不能吃。<br /> <br /> “可是这等于我也得撒谎。”<br /> <br /> 依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)<br /> <br /> &quot;And so&quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&quot; <br /> <br /> Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.<br /> <br /> &quot;Then I'd be lying, too,&quot; Lao Dao said.<br /> <br /> Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &quot;Please accept this token of my appreciation.&quot; (Ken Liu 2015)<br /> <br /> The conversational habits in Chinese are different from those in English, so some adjustments are often made when translating. The form of the dialogue is not completely translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”translated into &quot;spooned a serving of the new hot dish&quot;, the translator changed the action to &quot;spoon&quot;, which is more suitable for Yi Yan's identity image, it is more suitable as a girl in the first space to spoon the vegetables to Lao Dao. “推给老刀”translated into &quot;She pushed them across the table toward Lao Dao&quot;, this sentence adds some action to make it more pictorial.<br /> <br /> ====2.2 Functional Equivalence from Aspect of Style====<br /> <br /> Every writer has his own writing style, and no one can imitate it perfectly. That is to say, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows the language characteristics, and the English translation can also see that the translator tries to achieve the functional equivalence on the stylistic level.<br /> <br /> =====2.2.1 Rhetoric=====<br /> <br /> First of all, rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form and is a counterpart of dialectic. The use of rhetoric can create vivid images, vivid scenes, improve the effect of literature.<br /> <br /> Example 1:<br /> 老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)<br /> <br /> &quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&quot; (Ken Liu 2015)<br /> <br /> In this passage, the original text compares a hungry stomach to an abyss, and the English translation also uses this metaphor to form a rhetorical functional equivalence.<br /> <br /> Example 2:<br /> 不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)<br /> &quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&quot; (Ken Liu 2015)<br /> <br /> In this paragraph, it is a metaphor, and the words &quot;西山&quot; and &quot;孤&quot; in the original text are not translated, only translated into &quot;an island in the sea&quot;, this description is enough to show the image of a folded city.<br /> <br /> Example 3:<br /> 高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)<br /> <br /> &quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&quot; (Ken Liu 2015)<br /> <br /> It has a personification in this paragraph, &quot;skyscrapers&quot; have &quot;heads, feet, necks and arms&quot;, and &quot;like the humblest servants&quot;, the use of rhetoric enables people to imagine the folding picture of the city through the human image. By comparing the building to a herd of beasts, it shows its size and the sense of fear and oppression it brings.<br /> <br /> Example 4:<br /> 直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)<br /> <br /> &quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&quot;(Ken Liu 2015)<br /> <br /> In this sentence, although &quot;怪胎&quot; translate into &quot;monster&quot;, the &quot;生&quot;express also the same meaning, so the translator does not struggle.<br /> <br /> =====2.2.2 Dialects=====<br /> <br /> Dialect embodies the local characteristics, is the author's own writing style. Sometimes it's a problem in translation. In the following example, we can see how the translator handles this problem.<br /> <br /> For example, &quot;伙计&quot; in English &quot;waiter&quot; ,&quot;铺盖卷&quot; in English &quot;bedrolls&quot; ,&quot;闺女&quot;is translated as &quot;real daughter&quot; ,&quot;她们认死理儿&quot; is translated as &quot;they don't know how to be flexible&quot;,&quot;只是这么多年过来，人就木了.&quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.<br /> <br /> In short, whether the use of rhetoric or dialect in literature, can fully reflect the author's writing style. Therefore, in literary translation, the translator should study the differences between the source language and the target language in the ways to express stylistic differences, and find out the best way to make up for these differences. In this way, literary translation can achieve maximum functional equivalence at the stylistic level.<br /> <br /> ====2.3 Functional Equivalence from Aspect of Culture====<br /> <br /> In the process of translation, the cultural difference between the two languages is also an issue that translators should pay attention to. People who come into contact with different cultures have different ways of thinking, values and social customs and so on. Translators need to understand the two cultures and fully express the cultural elements contained in the original text. At this time, translation plays a role in cross-cultural communication. The translator must present the cultural meaning shown or implied in the original text to the readers so that the translation can achieve the cultural equivalence with the original text. In this chapter, we will analyze the English translation of Folding Beijing from the perspective of food culture, folk culture and culture of idioms, so as to explain how it achieves the functional equivalence with the original text.<br /> <br /> =====2.3.1 Food Culture=====<br /> <br /> The city described by Beijing Folding is the political and cultural center of China, and it is a city with profound cultural deposits. There are a lot of contents belonging to traditional Chinese food culture in the novel. This part will analyze how the translator translates these delicacies to achieve functional equivalence.<br /> <br /> Example 1:<br /> &quot;…面前摆着一盘炒面或炒粉… &quot;(Jingfang Hao 2016:2)<br /> <br /> &quot;Each kid had a plate of chow mein or chow fun…&quot; (Ken Liu 2015)<br /> <br /> &quot;炒面&quot;is a well-known traditional snack in China. The translator makes it into &quot;chow mein&quot;, rather than &quot;Chinese stir-fried noodles&quot;. In the dictionary, &quot;chow mein&quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also makes it more intuitive for the reader to know what the food is.<br /> <br /> Example 2:<br /> &quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&quot;(Jingfang Hao 2016:32)<br /> <br /> &quot;…over a half bottle of baijiu…&quot; (Ken Liu 2015)<br /> <br /> The foreignizing translation is adopted here, &quot;白酒&quot; is translated into &quot;baijiu&quot; , the translator doesn't use the word like &quot;spirits&quot;, it not only retains Chinese cultural characteristics, but also achieves communicative effect.<br /> <br /> Example 3:<br /> &quot;哎，你们知道那儿一盘回锅肉多少钱吗？&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…how much they charge for an order of twice -cooked pork over there?&quot; (Ken Liu 2015)<br /> <br /> The special feature of this dish is that it is boiled in water and then stir-fried. The translator captures this feature in the translation, trying to make people understand the meaning of &quot;回锅&quot;, and this dish is made with pork, he wants readers of the English translation to see an image of the dish in their heads in the same way that Chinese people do.<br /> <br /> =====2.3.2 Folk Culture=====<br /> <br /> Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.<br /> <br /> Example 1:<br /> &quot;…几个人分吃两个菜…&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…and they shared two dishes family-style.&quot; (Ken Liu 2015)<br /> <br /> &quot;分吃&quot; is the most common way of eating in traditional Chinese culture, where several dishes are shared among friends and family. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he use the word &quot;shared&quot; and he add the word &quot;family-style&quot; to make it easier for the reader to understand the behavior. <br /> <br /> Example 2:<br /> &quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&quot;(Jingfang Hao 2016:27)<br /> <br /> &quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&quot; (Ken Liu 2015)<br /> <br /> The culture of hometown is a major feature of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &quot;老乡&quot; from a geographical perspective. &quot;管事儿&quot;means to have some authority. The translator also explains this word so that readers can understand it easily.<br /> <br /> Example 2:<br /> &quot;一点心意，你收下。&quot; (Jingfang Hao 2016:23)<br /> <br /> &quot;Please accept this token of my appreciation.&quot;(Ken Liu 2015)<br /> <br /> In this passage, Yi Yan said that she hoped Lao Dao could help her keep a secret, so she wanted to give Lao Dao with money. &quot;心意&quot; means money, which is a euphemism used in China when it is inconvenient to offer money directly. In the translation, the translator also considered a euphemistic way of expression, so he used the word &quot;appreciation&quot;.<br /> <br /> =====2.3.3 Culture of Idioms=====<br /> <br /> Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.<br /> <br /> The author used many idioms in the article, such as &quot;饿虎扑食&quot;, the translator translated it into &quot;ate heartily&quot;, although the translation is easy to understand, but without the image that people are very hungry to eat, from the perspective of functional equivalence, English readers seem to be unable to reach the same level of understanding and response as Chinese readers. And &quot;（盘子）一片狼藉&quot;translated into &quot;The dishes were a mess&quot;, it is a brief description of the mess. And &quot;成人之美&quot; translated into &quot;in that case I'll have done a good deed by keeping silent&quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he was keeping secrets and that Yi Yan and Qin Tian might get together in the future. The translator abstractly translated the sentence in the English translation.<br /> <br /> ===Conclusion===<br /> <br /> From the analysis of the English translation of Folding Beijing from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of Folding Beijing to the English reader.<br /> <br /> Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is essentially the same as that of the source language readers, so the target language can be regarded as a functional equivalence translation. Analyzed from three aspects: meaning, style and culture &quot;Beijing fold&quot; English version, you can see on the language, while Chinese and English in logic and grammar are greatly different, there exist many differences in the Chinese culture and western culture, but the translator still tries his best to keep the content of the original text in the translation and find more appropriate words. In terms of some specific content, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction, which is of great value.<br /> <br /> ===References===<br /> <br /> [1] Hao Jingfang. Folding Beijing [J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy, 2015.<br /> <br /> [2] Nida, Eugene A. Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press,1993<br /> <br /> [3] Nida, Eugene A. Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001<br /> <br /> [4] Nida, Eugene A. &amp; Taber, Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2004<br /> <br /> [5] 郝景芳.孤独深处[M].南京：江苏凤凰文艺出版社，2016：1-40<br /> <br /> [6] 谭载喜.新编奈达论翻译[M].北京：中国对外翻译出版公司，1999<br /> <br /> [7] 许钧，穆雷.翻译学概论[M].南京：译林出版社，2009<br /> <br /> [8] 赵丹丹.浅论奈达的功能对等理论[J].文学教育，2011<br /> <br /> [9] 周兴阳.从功能对等理论视角看《北京折叠》英译本研究[J].新疆大学，2018<br /> <br /> [10] 王桂圆.系统功能语言学视角下《北京折叠》英译研究[J].海外英语，2018<br /> <br /> ==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==<br /> &lt;center&gt;余妮 Yu Ni No.202070080620&lt;/center&gt;<br /> ===Abtract===<br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. <br /> <br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s version has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===Key Words===<br /> Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong<br /> ===题目 ===<br /> 功能对等理论下余光中译《不可儿戏》分析<br /> ===摘要===<br /> The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。<br /> ===关键词===<br /> 功能对等；《不可儿戏》；余光中<br /> ===Introduction===<br /> “The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. <br /> <br /> “The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.<br /> <br /> The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) which was co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable, for it has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. With the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The following chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author makes a conclusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===An Introduction of Functional equivalence===<br /> ====The Definition of Functional Equivalence====<br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.<br /> <br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, according to the nature of translation. He pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).<br /> <br /> The equivalence in “dynamic equivalence” includes four aspects—lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, we should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural reaction of the source language in the target language(Guo Jianzhong, 2000).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Three Steps of Translation====<br /> Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.<br /> <br /> Firstly, we should create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully displays the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?<br /> <br /> Secondly, if meaning and culture concepts cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost not much snow in southern China all year round. Therefore, based on their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)<br /> <br /> In the translation, translators can eliminate cultural differences by changing the form of vocabularies. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and the image of “雨后春笋”. (Guo Jianzhong, 2000)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.<br /> <br /> Thirdly, if the change of form is not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Re-creation” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===''The Importance of Being Earnest'' and Its Chinese Versions===<br /> ====An Introduction of Oscar Wilde and His Works====<br /> Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).<br /> <br /> Oscar Wilde, born in Dublin, Ireland, is a “born for art” writer. He was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.<br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In this play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)<br /> <br /> Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies, revealing the hypocritical ethical concepts in Victorian era.(Wilde, 2009)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)<br /> <br /> Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Chinese Versions of The Importance of Being Earnest====<br /> =====An Overview of Its Chinese Versions =====<br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).<br /> <br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).<br /> <br /> Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared to previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).<br /> <br /> Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).<br /> <br /> From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Yu Guangzhong and His Chinese Version=====<br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). <br /> <br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections. Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.<br /> <br /> He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was first published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers but also for Chinese audiences and actors. Therefore, his translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===The Application of Functional Equivalence to Yu Guangzhong’s Version===<br /> ====Translation Strategies of Yu Guangzhong’s Version==== <br /> =====Translation of the Drama Title=====<br /> So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).<br /> <br /> So far, there are three famous versions of The Importance of Being Earnest—Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> “Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. <br /> <br /> “Functional equivalence emphasizes translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).<br /> <br /> Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Translation of Characters’ Names=====<br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.<br /> <br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but in different meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.<br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)<br /> <br /> It not only facilitated the needs of the audience but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience would be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.<br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. <br /> <br /> Yu Guangzhong translated “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. <br /> <br /> In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language remain the same.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.<br /> <br /> Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.<br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting<br /> <br /> =====Translation of Characters’ Dialogues=====<br /> “There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.<br /> <br /> “There are many allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ======Alliteration======<br /> &quot;Many English allusions and idioms are used in Wilde’s plays&quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.<br /> <br /> (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.<br /> <br /> (1) ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.<br /> <br /> In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. <br /> <br /> (2) CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack. Here, “bitter” and “blessings” employed alliteration devices.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. <br /> <br /> Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can still benefit from them. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’ s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting<br /> <br /> An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).<br /> <br /> An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting <br /> <br /> <br /> ======Paradox======<br /> (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor <br /> husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)<br /> 巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)<br /> Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). <br /> <br /> Paradox is a device favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed. Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.<br /> <br /> <br /> (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?<br /> CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for <br /> publication. (Wilde, 2009)<br /> 亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?<br /> 西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)<br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. <br /> <br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect. In example 4, what amused the audience was the conclusion contrary to the reasons.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)<br /> <br /> Yu Guangzhong added a Chinese conjunction “所以”. With it, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the readers will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ======Antithesis======<br /> <br /> (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)<br /> 亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)<br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. <br /> <br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators. Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty. Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).<br /> <br /> As a matter of fact, the target language seemed to be better than the source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> <br /> (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)<br /> 劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)<br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.<br /> <br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in the target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ====Suggestions on Translation from Yu Guangzhong’s Version====<br /> Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.<br /> <br /> Through the analyses of Yu Guangzhong’s version, we may have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is the most popular one among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).<br /> <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is the variety of rhetorical devices. In the process of translation, Yu Guangzhong grasped this point. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). <br /> <br /> The second translation strategy is that the form can be changed properly but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning. The beauty of the original will be destroyed, too. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).<br /> <br /> For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===Conclusion===<br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). <br /> <br /> <br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we can have a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”. In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting<br /> <br /> One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.<br /> <br /> One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed but the meaning and satirical effect cannot be reduced. With these strategies, we can produce better translation. Even though we can gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ===References===<br /> Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.<br /> <br /> Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.<br /> <br /> Eugene A. Nida &amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.<br /> <br /> Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.<br /> <br /> Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.<br /> <br /> Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.<br /> <br /> Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.<br /> <br /> Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.<br /> <br /> Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.<br /> <br /> Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.<br /> <br /> Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.<br /> <br /> Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.<br /> <br /> Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.<br /> <br /> Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.<br /> <br /> Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.<br /> <br /> Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.<br /> <br /> Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.<br /> <br /> Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> =Applicaton of Translation Theories=<br /> ==Study of Application of Interpretive Theory in Interpretation 韩宛真 Han Wanzhen 202020080603== <br /> <br /> ===Abstract===<br /> With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. <br /> <br /> With the development of economic globalization,exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand.The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice. Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:58, 16 December 2020 (UTC)<br /> <br /> ===Key words===<br /> interpretive theory; interpretation,; translation strategies<br /> <br /> ===题目===<br /> 释意理论指导下的口译<br /> <br /> ===摘要===<br /> 随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。<br /> <br /> ===关键词===<br /> 释意理论；口译；翻译策略<br /> <br /> ===1.Introduction===<br /> In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.<br /> <br /> ===1.1 Introduction of Interpretive Theory===<br /> The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. <br /> <br /> The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)<br /> <br /> The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &quot;meaning&quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.(Kong Shaohui 2009, 127)<br /> <br /> Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &quot;implied meaning&quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. <br /> <br /> Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.<br /> <br /> The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can<br /> understand:The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &quot;thought that has not been expressed in words&quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.<br /> <br /> The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &quot;de-verbalization&quot;. Adding the process of breaking away from the language<br /> shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.<br /> <br /> The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.<br /> In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)<br /> <br /> ===1.2 Introduction of Interpretation===<br /> Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.<br /> Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.<br /> <br /> There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &quot;lightning thinking&quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &quot;simultaneous interpretation&quot; is almost impossible). (Ouyang Changyi 2010)<br /> <br /> Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &quot;simultaneous interpretation is a half-expert in any field.&quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)<br /> <br /> ===2. Literary Review===<br /> No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.<br /> <br /> ===2.1 The Research on Interpretive Theory===<br /> Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.<br /> <br /> The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &quot;interpretive&quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. <br /> <br /> At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. <br /> <br /> Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.<br /> <br /> It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.<br /> <br /> ===2.2 The Research on Interpretation under the Guide of Interpretive Theory===<br /> Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. <br /> <br /> With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.<br /> <br /> First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &quot;One Belt One Road&quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &quot;Black Technology&quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.<br /> <br /> On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.<br /> The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.<br /> <br /> ===3.Translation Strategies based on Interpretive Theory===<br /> Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.<br /> Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> ===3.1 Free Translation===<br /> The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。<br /> Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.<br /> &quot;而立之年&quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.<br /> 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。<br /> Translation: FOCAC is a valuable asset for China and Africa.<br /> &quot;金字招牌&quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.<br /> <br /> ===3.2 Addition of Message===<br /> Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。<br /> Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.<br /> In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.<br /> 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。<br /> Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.<br /> From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.<br /> <br /> ===3.3 Positive and Negative Translation===<br /> <br /> As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:<br /> 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。<br /> Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.<br /> The sentences in the source text are all expressed by the negative &quot;cannot&quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.<br /> 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。<br /> Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.<br /> The source text is a negative sentence containing the negative “cannot&quot; when translated into English. The translator is telling the truth, the translation is &quot;at least&quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.<br /> <br /> ===Conclusion===<br /> In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.<br /> <br /> The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.<br /> The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)<br /> <br /> The interpretive theory is the hypothesis of &quot;beyond the shell of the source language&quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &quot;out of&quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)<br /> <br /> In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &quot;departure from the source language&quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&quot;(Lederer 2001, 45-50)<br /> <br /> ===References===<br /> *Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &quot;Interpretive theory.&quot;: 1. <br /> <br /> *Dougherty, Ray C. (1969). &quot;An interpretive theory of pronominal reference.&quot; Foundations of Language: 488-519.<br /> <br /> *Gong Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.<br /> <br /> *Jackendoff, Ray S. (1969). &quot;An interpretive theory of negation.&quot; Foundations of language: 218-241.<br /> <br /> *Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.<br /> <br /> *Lederer Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.<br /> <br /> *Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.<br /> <br /> * Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.<br /> <br /> * Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]<br /> <br /> * Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.<br /> <br /> *Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.<br /> <br /> *Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.<br /> <br /> ='''Theory and Practise'''=<br /> <br /> <br /> ==The Development of Translation in Chinese Buddhist Scriptures 陈佳欣 Chen Jiaxin==<br /> <br /> ===Abstract===<br /> The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.<br /> <br /> ===Keywords ===<br /> Buddhist scriptures, Translation, Literal translation, Free translation<br /> <br /> ===摘要===<br /> 佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。<br /> <br /> ===关键词===<br /> 佛经，翻译，直译，意译<br /> <br /> ===Introduction===<br /> Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time. About the first century AD Buddhism entered China along trade routes from Central Asia. Thus, the translation of Buddhist scriptures came into being. Buddhism was widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.<br /> <br /> During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the form similarity and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. “The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation” (Sun Shanshan 2014, 174).<br /> <br /> In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three period. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposed that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposed to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang held that translation “must be truthful and intelligible to the populace”.<br /> <br /> === The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===<br /> The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.<br /> <br /> ==== An Shigao ====<br /> An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He totally translated 35 Buddhist Scriptures, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).<br /> <br /> ==== Zhi Chen ====<br /> Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. <br /> <br /> ==== Zhi Qian ====<br /> Zhi Qian, also known as Zhi Yue, is a Buddhist scripture translator during the Three Kingdoms period. He is the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignore the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. <br /> <br /> (2)The mainstream translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures. On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore then can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.<br /> <br /> (3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.<br /> <br /> === the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===<br /> The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.<br /> <br /> ====Shi Daoan ====<br /> Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he is also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. <br /> <br /> “‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&quot;Three Difficulties in Translation&quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.<br /> <br /> The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.<br /> <br /> ==== Kumarajiva ====<br /> Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &quot; the first class master of translation&quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He is one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translates 39 volumes. He is proficient in both Chinese and Sanskrit languages, and advocates that as long as the translation does not violate the original meaning, there is no need to follow the original form. “Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &quot;geyi&quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992, 186). He argued that “geyi” is the culprit of the deformation of India Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25). <br /> <br /> Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness. Another remarkable achievement is his contribution to the translation workshop. After he arrived Chang'an, he began to organize translation workshops. Under his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).<br /> <br /> (2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads）are usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China，translators can take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there are more Sanskrit texts, they have more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.<br /> <br /> (3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.<br /> <br /> (4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).<br /> <br /> === Tang Dynasty ===<br /> The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously. In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age is Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.<br /> <br /> ==== Xuang Zang ====<br /> Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &quot; Sanzang Rabbi.&quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses, the number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).<br /> <br /> In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &quot;Doroni&quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &quot;bhaga&quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &quot;jumbu tree&quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &quot;Aunt Bodhi&quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &quot;prajna&quot; respect, &quot;wisdom&quot; is light and shallow. “The word &quot;Untranslatable&quot; here does not mean not translating, but rather &quot;not intended to translate&quot;, using transliteration”( Jian Xue 2018, 28).<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translators are mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also has a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who are proficient in Sanskrit has gradually increased, and the translation work does not need to turn to foreign monks.<br /> <br /> (2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation programs possible.<br /> <br /> (3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty is more all-sided in organization. “According to records, The translation workshop of the Tang Dynasty has as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them are rabbis appointed by the court.<br /> <br /> (4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.<br /> <br /> (5) The translation scripts are more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believes that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.<br /> <br /> === The Influence of the Translation of Buddhist Scriptures ===<br /> The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> The influence of Buddhist scripture translation on Chinese is mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.<br /> <br /> “In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&quot;, &quot;Sutra” etc; some are words that we don’t realize, such as &quot;memory&quot;, &quot;world&quot;, &quot;now&quot;, &quot;causality&quot;, &quot;attachment&quot;, &quot;emptiness&quot;, &quot;reality&quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).<br /> <br /> The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to be the main motive.<br /> <br /> In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.<br /> <br /> === Conclusion ===<br /> The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.<br /> <br /> The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.<br /> The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation<br /> <br /> === References ===<br /> Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223<br /> <br /> Meng Yue孟悦. 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(2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.<br /> <br /> ==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts'' 成于思 Cheng Yusi 202020080598 比较文学与跨文化研究==<br /> <br /> ==='''Abstract'''===<br /> André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the paper is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the paper will make a comparison of these two books to deepen readers' understanding of them.<br /> <br /> ===Key words===<br /> André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative Study of Chinese and Western Translation Principles'', “cultural turn”, John Dryden, translation principles<br /> <br /> ===题目===<br /> 《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析<br /> <br /> ===摘要===<br /> 安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。<br /> <br /> ===关键词===<br /> 安德烈·勒菲弗尔,《翻译，历史和文化论集》，刘宓庆，《中西翻译思想对比研究》，文化转向，约翰·德莱登，翻译原则<br /> <br /> ===1.Introduction===<br /> This paper presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, this paper is intended to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This paper will be divided into three parts.<br /> <br /> In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden compares a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014). Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.<br /> <br /> In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72). Finally, the author will show some scholars’ appraisals of this book.<br /> <br /> In part three, it intends to give a brief comparison of these two books in contents and forms.<br /> <br /> All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.<br /> <br /> ===2. Analysis of ''Translation, History and Culture: A Sourcebook''===<br /> <br /> ''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&quot;(Munday 2016,199). As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &quot;cultural turn&quot; of translation proposed by Translation Studies. <br /> <br /> In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &quot;a rewriting of an original text&quot;. Here, they explained that &quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&quot; (Lefevre 2003, xi). According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. <br /> <br /> In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii). <br /> <br /> Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &quot;cultural turn&quot;. The &quot;cultural turn&quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &quot;cultural turn&quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)<br /> <br /> If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &quot;cultural turn&quot;, Translation, History and Culture: A Sourcebook, with abundant case studies, is proved to be a good illustration of their thoughts. <br /> <br /> If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &quot;cultural turn&quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)<br /> <br /> The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. <br /> <br /> I enjoy reading this book because it brings us and those aloof and remarkable scholars more closer. After reading their original words, they seem to appear fresh before our eyes and narrate their feelings of being translators to us themselves. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&quot;. (Lefevere 2003, 47). <br /> <br /> In this part, I will analyze John Dryden's three types of translation and his comparison of &quot;author and translator&quot; to &quot;master and slave&quot; through the excerpts collected in Translation, History and Culture: A Sourcebook. (Lefevere 2003, 24;102-105).<br /> <br /> Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2). The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &quot;author and translator&quot; to &quot;master and slave&quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii). Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.<br /> <br /> Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102).<br /> <br /> In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). <br /> <br /> Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating the poem in such a way is like &quot;dancing on ropes with fettered legs&quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103).<br /> <br /> Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&quot;.(Lefevere 2003, 103). <br /> <br /> As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103).<br /> <br /> Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. &quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&quot;.(Lefevere 2003, 104).<br /> <br /> It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &quot;he may stretch his chain to such a latitude&quot;.(Lefevere 2003, 105). In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. <br /> <br /> Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019).<br /> <br /> However, in Chapter Two, in &quot;Dedication&quot; to his translation of the Aeneid, Dryden argued that &quot;We are bound to our author's sense, though with the latitudes already mentioned&quot;.(Lefevere 2003, 24). He compared a translator to a slave and drudged to express his views on the role of translators. &quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&quot; (Lefevere 2003, 24). <br /> <br /> Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies. (Niu Yunping, 2014). <br /> <br /> Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars such as Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014). --[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &quot;classical writers&quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014).<br /> <br /> A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &quot;classical writers&quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014).--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73). <br /> <br /> About the value of this book, Translation, History and Culture: A Sourcebook is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii).<br /> <br /> About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii).--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:36, 18 December 2020 (UTC)<br /> <br /> ===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===<br /> <br /> In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &quot;Sixiang&quot; (&quot;thought&quot; in Chinese) refers to &quot;principle&quot; in the West in this book. (Liu Miqing 2005, 2). <br /> <br /> In the FAQ passage, the author explained why he wrote this book. &quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&quot;(Liu Miqing 2005, i). It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. <br /> <br /> Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)<br /> <br /> The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33). <br /> <br /> He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43).<br /> <br /> The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39).<br /> <br /> Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150).<br /> <br /> Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &quot;emphasis on meaning&quot; and establish a new concept of &quot;emphasis on the meaning in communication&quot; (Liu Miqing 2005,179). <br /> <br /> The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288).<br /> <br /> However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288).<br /> <br /> Finally, Liu points out that western translation theory is &quot;technology-oriented&quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293).<br /> <br /> The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &quot;translation and language game&quot;, Liu puts forward that &quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402).<br /> <br /> Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i). This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44).<br /> <br /> Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflects the integration of religion and politics in foreign countries. (Liu Miqing 2005,44). For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987).<br /> <br /> Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &quot;all is vanity&quot;, &quot;being detached from worldly affairs&quot; and &quot;obedience&quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987). <br /> <br /> In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still touched by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46). <br /> <br /> As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but cleared the way to economic growth as well. Meanwhile, integrated translation paved the way for European integration. (Liu Miqing 2005, 101). <br /> <br /> The second characteristic of the tradition of Chinese translation is &quot;regulation to perfection&quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51). <br /> <br /> The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101). Moreover, Western translation principles give priority to &quot;Communicative Translation&quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104). <br /> <br /> The third characteristic is &quot;the focus on meaning as well as aesthesis&quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52).<br /> <br /> Wang Guowei pointed out that the word &quot;Nao&quot; in the verse &quot;Hong Xing Zhi Tou Chun Yi Nao&quot; conveys the Jingjie of the whole poem. (Wang Guowei 2017,15). Therefore, if one attempts to translate the poem, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility. It expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104).<br /> <br /> Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006). <br /> <br /> Lu Wei and Li Defeng shed light on the topic &quot;translation theories with Chinese characteristics&quot; and argued that Liu Miqing's A Comparative Study of Chinese and Western Translation Principles provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010).<br /> <br /> ===4. Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===<br /> <br /> ===4.1 From the aspect of the content===<br /> Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. <br /> <br /> Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracted other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)<br /> <br /> ===4.2 From the aspect of the arrangement===<br /> Both of these two books are arranged in theme, rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. The longer essays are collected in the last chapter. Liu arranges his book differently.<br /> <br /> Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', including the characteristics, origins, schools and limitations of Chinese and western translation, Liu not only quotes other’s statement, he applies many tables to demonstrate his thoughts, which helps the readers better understand translation principles.<br /> <br /> ===Conclusion===<br /> In conclusion, the paper is intended to help readers to understand these two books in depth. After a brief introduction of these two books, it analyzes John Dryden’s three types of translation and his comparison of translator to slave and figures out the reason for the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learns translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.<br /> <br /> ===References===<br /> André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp; Francis e-library.<br /> <br /> André Lefevere &amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;New York: Pinter Publishers.<br /> <br /> Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.<br /> <br /> Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.<br /> <br /> Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp; Francis Group.<br /> <br /> Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp; Publishing Corporation中国对外翻译出版公司.<br /> <br /> Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp; Technology Translators Journal 23(02):11-14+29.<br /> <br /> Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.<br /> <br /> Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.<br /> <br /> Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.<br /> <br /> Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> ==The development and future trend of translation Theory 张慧 Zhang Hui 202070080622 英语笔译==<br /> <br /> ===Abstract===<br /> This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.<br /> ===Key Words===<br /> Chinese and Western, translation theory, development, trend<br /> ===摘要===<br /> 本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。<br /> ===关键词===<br /> 中西方，翻译理论，发展，趋势<br /> ===Introuction===<br /> Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.<br /> <br /> Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)<br /> ===The Four Periods of Development of Chinese Translation Theory===<br /> <br /> Ancient Translation Period<br /> <br /> The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）<br /> <br /> Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &quot;seeking the truth&quot; and &quot;using the vulgar&quot; in the translation process. He also established the principle of &quot;five not to turn,&quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）（quotation missing）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> Translation of the Late Qing Dynasty and Early Republic of China<br /> <br /> A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）<br /> <br /> Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）<br /> <br /> Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）<br /> <br /> His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）（paragraph too long）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.<br /> <br /> Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: <br /> <br /> (1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.<br /> <br /> Translation Theory in the Republic of China<br /> <br /> Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &quot;shenyun translation&quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）<br /> <br /> Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）<br /> <br /> After the Founding of the People’s Republic of China<br /> <br /> The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）<br /> <br /> Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）<br /> ===Prospects for the Development of Contemporary Chinese Translation Theory===<br /> <br /> Emphasis on the study of basic translation theory <br /> <br /> Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> “Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). <br /> <br /> In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). <br /> <br /> Innovation of ontology<br /> <br /> Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) <br /> <br /> Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> ===The Historical Development of Western Translation Theory and Its Classification===<br /> <br /> Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. <br /> <br /> The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)<br /> <br /> <br /> The School of Thought and the Main Characteristics of Western Translation Theory<br /> <br /> Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.<br /> <br /> Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. <br /> <br /> The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. <br /> <br /> These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. <br /> <br /> Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. <br /> <br /> Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. <br /> <br /> The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)<br /> <br /> The Response of Western Translation Theory in China’s Translation Industry<br /> <br /> As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. <br /> <br /> Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)<br /> <br /> ===Analysis of Theoretical Research Status===<br /> <br /> Descriptive Analysis of Translation Theory Research<br /> <br /> First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)<br /> <br /> Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.<br /> Third, researchers and institutions. <br /> <br /> The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)<br /> Systematic Analysis of Translation Theory Research<br /> <br /> First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.<br /> <br /> Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.<br /> <br /> Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.<br /> <br /> Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. <br /> <br /> Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. <br /> <br /> This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.<br /> <br /> Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).<br /> <br /> The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. <br /> <br /> The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.<br /> <br /> ===Trends in Translation Theory Research===<br /> <br /> Interdisciplinary cooperation and integration<br /> <br /> Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. <br /> <br /> In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）<br /> <br /> Return to culture development<br /> <br /> The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.<br /> <br /> Seeking Common Ground while Surviving Differences in Cultural Translation<br /> <br /> Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）<br /> <br /> ===Conclusion===<br /> <br /> From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.<br /> <br /> ===References===<br /> <br /> [1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.<br /> <br /> [2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.<br /> <br /> [3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.<br /> <br /> [4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.<br /> <br /> [5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.<br /> <br /> [6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.<br /> <br /> [7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.<br /> <br /> [8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.<br /> <br /> [9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.<br /> <br /> [10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.<br /> <br /> [11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.<br /> <br /> ==A Cultural Critique of Foreignization and Domestication 吴子佳 Wu Zijia 202070080645==<br /> <br /> 吴子佳 Wu Zijia 202070080645<br /> <br /> ==='''Abstract'''===<br /> Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.<br /> <br /> ==='''Key words'''===<br /> <br /> Domestication foreignization cultural-overloaded words cross-cultural communication.<br /> <br /> ==='''摘要'''===<br /> <br /> 归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。<br /> <br /> ==='''关键词'''===<br /> <br /> 归化，异化，文化负载词，跨文化交流<br /> <br /> <br /> ===''' Introduction of Domestication and Foreignization '''===<br /> <br /> Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）<br /> <br /> On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.<br /> Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）<br /> <br /> For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku）<br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞” cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku）<br /> <br /> ==='''Analysis on Culture Differences in Translation'''===<br /> <br /> Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. <br /> <br /> Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）<br /> <br /> So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &quot;dog&quot; is mostly unpleasant, so the metaphor of &quot;dog&quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）<br /> <br /> On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &quot;dog&quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）<br /> <br /> Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &quot;rice&quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &quot;bread and butter,&quot; &quot;big potato&quot;,”hot potato” and &quot;couch potato.&quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）<br /> <br /> ===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===<br /> <br /> 1. Practice of foreignization and domestication in tourism culture<br /> <br /> The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)<br /> <br /> Example 1:<br /> <br /> 路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字<br /> To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))<br /> Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> Example 2<br /> <br /> 云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。<br /> Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.<br /> Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> <br /> Example 3<br /> <br /> 花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)<br /> 孤山: Gushan (Solitary Hill) <br /> 湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。<br /> Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”<br /> Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> <br /> Example 4 <br /> <br /> Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> Example 5<br /> <br /> 她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。<br /> It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.<br /> The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> Example 6<br /> <br /> 四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。<br /> Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. <br /> By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> 2. Practice of Foreignization and Domestication in Food Culture<br /> <br /> With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）<br /> <br /> For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）<br /> <br /> Example 7<br /> <br /> 番茄牛腩(tomato and beef brisket)<br /> This translation consists of main ingredient and ingredient.<br /> 砂锅面(casserole noodles)<br /> This translation consists of utensils and ingredients.<br /> 淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)<br /> This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.<br /> 炒酸菜, 手抓饼(sauerkraut, shredded cake)<br /> This translation consists of the cooking method or eating method and ingredients.<br /> Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）<br /> <br /> Example 8<br /> <br /> 蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)<br /> This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.<br /> 霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)<br /> This translation is named after historical allusions.<br /> 驴打滚 (打糕) :Donkey roll (beating cake)<br /> This translation is named according to the production process metaphor. <br /> 佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).<br /> This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）<br /> <br /> Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.<br /> <br /> Example 9<br /> <br /> “叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &quot;Baked Chicken&quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)<br /> <br /> <br /> If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)<br /> <br /> Example 10<br /> <br /> Some foods are usually translated in the form of &quot;Hanyu Pinyin + English notes&quot; in order to retain certain characteristics.<br /> For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）<br /> <br /> For example, &quot;豆腐&quot; translates as &quot;Toufu&quot;; &quot;馄饨&quot; translates as &quot;Wonton&quot;. The translation of四一丸子:&quot;Four Happy Meatballs&quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）<br /> <br /> 3. Practice of Foreignization and Domestication in Diplomacy<br /> <br /> Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）<br /> <br /> Example 11<br /> <br /> 我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。<br /> What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.<br /> In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）<br /> <br /> Example 12<br /> <br /> “投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）<br /> To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.<br /> This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）<br /> <br /> Example 13<br /> <br /> 耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）<br /> &quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.<br /> This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）<br /> <br /> Example 14<br /> <br /> “滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）<br /> <br /> &quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.<br /> This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）<br /> <br /> Example 15<br /> <br /> 我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）<br /> <br /> If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&quot;稻草、吸管&quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）<br /> <br /> ===''' Conclusion '''===<br /> <br /> Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.<br /> <br /> ===''' References '''===<br /> <br /> * Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.<br /> * Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.<br /> * Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.<br /> * Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.<br /> * Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.<br /> * Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.<br /> * Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.<br /> * Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.<br /> <br /> ='''Contemporary Translation Studies'''=<br /> <br /> <br /> ==A Study On the Influence of Linguistics on the Construction of Translatology 孔祥慧 Kong Xianghui 202020080608==<br /> &lt;center&gt;孔祥慧 Kong Xianghui &lt;/center&gt;<br /> ==='''Abstract'''===<br /> Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .<br /> <br /> ==='''Key words'''===<br /> Translatology;Linguistic;Discipline Construction<br /> <br /> ===摘要===<br /> 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。<br /> <br /> ===关键词===<br /> 翻译学；语言学；学科构建<br /> <br /> ==='''1.Introduction'''===<br /> Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）<br /> <br /> For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）<br /> <br /> This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.<br /> <br /> ==='''2.Literature review '''===<br /> This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. <br /> <br /> '''2.1Studies on the construction of translatology aboard'''<br /> <br /> In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.<br /> <br /> Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.<br /> <br /> J.C. Catford in his book ''A Linguistic Theory of Translation'' (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.<br /> <br /> Holmes published ''The Name and Nature of Translation Studies'' at The Third International Conference on Applied Linguistics in 1972, which was &quot;widely regarded as the founding declaration of the discipline of translation studies&quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.<br /> <br /> In 1982, Wolfram Wilss published ''the Science of Translation: Problems and Methods'', clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.<br /> <br /> Newmark is also a representative figure in the field of translation. In his book ''Exploration of Translation'' (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.<br /> <br /> Hatim &amp; Mason, whose representative work is ''Discourse and the Translator'' (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.<br /> <br /> Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.<br /> Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published ''Translation and Conflict'': A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.<br /> <br /> '''2.2 Studies on the construction of translatology at home'''<br /> <br /> In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology in China made great progress.<br /> <br /> In 1951, Dong Qius, a famous Chinese translator, published his article ''On the Construction of Translation Theory''. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.<br /> <br /> In 1987, Tan Zaixi clearly put forward the view that &quot;translation studies are an independent subject&quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published ''On Approaches to Translation Studies''. In this paper, Tan mainly distinguished two concepts of &quot;translation&quot; and &quot;translatology&quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.<br /> <br /> In the thesis ''An Overview of Western Translation Theory'' (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.<br /> <br /> In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.<br /> <br /> At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.<br /> <br /> Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published ''Constructing The Linguistic Basis of Translation Studies'' (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.<br /> <br /> Yi Jing published his doctoral thesis ''On The Construction of Translation Studies'' (2009), which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis ''On The Construction of Translation Studies'' in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.<br /> <br /> In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in ''Translation View in Cognitive Linguistics'' proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.<br /> <br /> Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.<br /> <br /> From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.<br /> <br /> ==='''3.The Construction of Translatology '''===<br /> <br /> In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.<br /> <br /> '''3.1Translation and Translatology'''<br /> <br /> &quot;Translation&quot; and &quot;translatology&quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)<br /> <br /> In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &quot;translatology&quot; is used to refer to translation studies.&quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&quot;.（Liu Zhongde，1995）<br /> Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.<br /> <br /> '''3.2 Three Stages of Translatology'''<br /> <br /> Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.<br /> <br /> '''3.2.1 Early translation practice'''<br /> <br /> Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)<br /> <br /> '''3.2.2 The awareness of an academic discipline'''<br /> <br /> Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &quot;translation must become an independent discipline&quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.<br /> <br /> Such a group of people also appeared in modern China. Lin Yutang used the word &quot;translation studies&quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）<br /> <br /> '''3.2.3 The rapid development stage of translation studies'''<br /> <br /> Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018)<br /> Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.（Wikipedia）<br /> <br /> ==='''4.The Influence of Linguistics on the Construction of Translatology'''===<br /> <br /> For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.<br /> <br /> 4.1 Contributions of early linguists to translation<br /> <br /> As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.<br /> Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &quot;signifier&quot; and &quot;signified&quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）<br /> <br /> These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.<br /> <br /> 4.2 Translation studies based on linguistic theory<br /> <br /> In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.<br /> <br /> 4.2.1 The influence of Structuralist linguistics<br /> <br /> Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &quot;pure linguistic forms&quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.(Lvjun，2004)<br /> <br /> Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &quot;the science of translation&quot; and &quot;dynamic equivalence/Functional equivalence&quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &quot;six-level equivalence theory&quot; .(Yi Jing,2012)<br /> <br /> Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.（Zou Bin,Mu Lei,2020)<br /> <br /> 4.2.2 The influence of discourse linguistics<br /> <br /> For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002）<br /> Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics.<br /> The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）<br /> <br /> 4.2.3 The influence of contemporary linguistics<br /> <br /> As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）<br /> <br /> Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.(Liao Qiyi， 2000)<br /> <br /> 4.3 The experience of the construction of linguistics<br /> <br /> In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.<br /> <br /> 4.4.1 Discipline development<br /> <br /> Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.（Kong Xiangli，2009）<br /> The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.<br /> <br /> 4.4.2 Discipline structure<br /> <br /> Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.<br /> From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.（Yi Jing，2009）<br /> Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.<br /> <br /> 4.4.3 Development Trend of discipline<br /> <br /> Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.<br /> In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）<br /> <br /> ==='''5.Conclusion'''===<br /> Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.<br /> <br /> ==='''References'''===<br /> Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.<br /> <br /> Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.<br /> <br /> Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''<br /> <br /> Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.<br /> <br /> Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. ''当代语言学''[Modern Linguistic] 3-5.<br /> <br /> Fang Xiangtao,Lu Bixiao. (2019). 范祥涛,陆碧霄.认知翻译研究的观念和方法. [Concepts and Methods of Cognitive Translation Studies]. ''外语教学''[Foreign Language Education] 8-12.<br /> <br /> Huang Guowen. 黄国文. (2006). 关于翻译研究语言学探索的几个问题. [Questions about the Linguistic Exploration of Translation Studies]. ''外语艺术教育研究''[Educational Research on Foreign Languages &amp; Arts] 35-41.<br /> <br /> Kong Xiangli. 孔祥立. (2009). 中国翻译学学科建设论. [On the subject construction of Chinese Translation Studies]. 上海外国语大学[Shanghai International Studies University].<br /> <br /> Li Yan, Feng Huali. 李艳,冯华丽.(2020) 国内基于语料库的翻译研究二十年综述(1999—2018). [A review of 20 Years of Corpus-based Translation Studies in China(1999—2018)]. ''成都理工大学学报(社会科学版)'' [Journal of Chengdu University of Technology(Social Science) ]105-110.<br /> <br /> Liu Miqing. 刘宓庆. (1989). 西方翻译理论概评. [An Overview of Western Translation Theory]. ''中国翻译''[Chinese Translators Journal] 2-6.<br /> <br /> Liu Zhongde. 刘重德. (1998). 关于建立翻译学的一些看法. [Views on the Establishment of Translation Studies]. ''外国语(上海外国语大学学报)'' [Foreign Languages (Journal of Shanghai International Studies University)] 27-31+60.<br /> <br /> Lv Jun. 吕俊. (2004). 建构翻译学的语言学基础. [The Linguistic Basis of Translation studies]. ''外语学刊''[Foreign Language Research] 96-101.<br /> <br /> Liao Qiyi. 廖七一. (2000). 语料库与翻译研究[Corpus and Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 380-384.<br /> <br /> O Aiping. 欧爱萍.(2012). 浅谈语言学对翻译学科的影响. [A Brief Discussion on the influence of Linguistics on translation]. ''中外企业家''[Chinese and Foreign Entrepreneurs] 179-180.<br /> <br /> Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.<br /> <br /> Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.<br /> <br /> Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.<br /> <br /> Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.<br /> <br /> Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.<br /> <br /> Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].<br /> <br /> Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.<br /> <br /> Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.<br /> <br /> Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.<br /> <br /> Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.<br /> <br /> Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.<br /> <br /> ==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658==<br /> <br /> ==='''Abstract'''===<br /> <br /> With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.<br /> <br /> ==='''Key words'''===<br /> <br /> Translation Studies, translation education, translation talents<br /> <br /> ==='''题目'''===<br /> <br /> 对中国翻译学学习的反思<br /> <br /> ==='''摘要'''===<br /> <br /> 随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析学习翻译学科目前存在的问题，并提出相关的建议。 <br /> <br /> ==='''关键词'''=== <br /> <br /> 翻译学，翻译教育，翻译人才<br /> <br /> <br /> ==='''1. Introduction'''===<br /> <br /> 1.1. The Connotation of Translation Studies<br /> <br /> Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &quot;''The Name and Nature of Translation Studies''&quot;, is a basic statement of translation studies: it calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, including comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.<br /> Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation Studies can examine the practice and background of translating professional texts (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. <br /> <br /> Learning these contents enables students to apply their theoretical understanding to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually include the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills needed to solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.<br /> <br /> 1.2. The Significance of Translation Study<br /> With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. At the same time, as today's multicultural and multilingual society requires effective, efficient and understanding communication between languages and cultures, translation skills have become more and more important and desirable. <br /> <br /> As a science, Translation Studies has always had its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can understand the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. This is also the necessity for translators to learn Translation Studies.<br /> <br /> ==='''2. The Development Process of Translation Studies in China'''===<br /> <br /> Translation activities has appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, the flourishing period of Translation Studies.<br /> <br /> 2.1. The Exploration Period of Translation Studies <br /> <br /> In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, Almost no. What we have are some translation regulations and fragments of experience for temporary reference.&quot; He clearly called for the establishment of &quot;a complete translation theory system&quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared in history.<br /> <br /> However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have become increasingly single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc. At that time, because a large number of people who understand foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to strengthen foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under foreign language and literature, but the distinction between translation teaching and language teaching has gradually become clear.<br /> <br /> 2.2. The Development Period of Translation Studies<br /> <br /> At the beginning of this period, it was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. At this stage, some masters and doctors in translation studies joined the construction team translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation desperately. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of &quot;''China Translator''&quot; in 2004 come to congratulate. Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.(Huang Zhongqian, Zhang Xiao 2020) Translation research ideas, methods, space and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.<br /> <br /> 2.3. The Flourishing Period of Translation Studies<br /> <br /> In 2011, the Ministry of Education adjusted the discipline catalog and listed &quot;Translation Studies&quot; as a second-level subject under the first-level discipline of &quot;Foreign Languages and Literature&quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction. In the flourishing period, the construction of translation disciplines and the development of translation majors in China have shown a new look. Many levels have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training. There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.<br /> <br /> ==='''3. Challenges of Learning Translation Studies in China'''===<br /> <br /> The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. China's translation discipline has now entered a new stage, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.<br /> <br /> 3.1. Translation Education<br /> <br /> With the establishment of the status of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the training of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better. However, China's translation education started and developed after the reform and opening up, is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, and systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.<br /> <br /> 3.1.1. Orientation of the Cultivation of Translation Talents<br /> <br /> At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to the unclear concept of the cultivation of translation talents. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation professional teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market. (Zhong Weihe 2019)Due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.<br /> <br /> 3.1.2. Faculty Resources<br /> <br /> The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. The problem of translation teachers has always been a bottleneck problem that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data show that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &quot;''National Standard of Part-time Teacher in MTI Education'' &quot;. (Zhong Weihe 2019) In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.<br /> <br /> 3.1.3. Teaching method<br /> <br /> Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2020) For example, this kind of teaching method that ignores student autonomy is entirely a teacher-centered teaching model, which will place too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.<br /> <br /> 3.1.4 Translation Teaching Research<br /> <br /> The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is rare. besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play.(Bo Zhenjie, Li Heqing 2011) However, combining actual translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but not deep into the actual situation.<br /> <br /> 3.2. Students<br /> <br /> The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.<br /> <br /> 3.2.1. Low level of commitment to translation learning<br /> <br /> Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between the word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.<br /> <br /> 3.2.2. Insufficient background knowledge <br /> <br /> Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not grasp sufficient background information. With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. (Xie Zhentian, 2015) Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.<br /> <br /> 3.2.3. Neglect of theoretical knowledge<br /> <br /> At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）<br /> <br /> ==='''4. Suggestions for the Learning of Translation Studies'''===<br /> <br /> In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved according to the development of times. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote the development of Translation Studies in China.<br /> <br /> 4.1. Translation Education<br /> <br /> 4.1.1. Improve Teaching Mode<br /> <br /> The teaching model is an important basic guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation or current affairs. Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to make something new. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. The objective teaching method is a teaching mode that can be introduced in translation teaching. This type of mode attaches great importance to the construction of learning environment and the value of teachers' guidance to students. (Ou Yonghua 2019) This is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.<br /> <br /> 4.1.2. Strengthen Faculty Force<br /> <br /> Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and first-line translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)<br /> <br /> 4.1.3. Broaden the academic vision of translation<br /> <br /> Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which is a comprehensive academic research of the discipline. Carry out the provision of roadmap (Lan Hongjun, 2018); the second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary and integration, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)<br /> <br /> 4.2. Students <br /> <br /> The quality of translation talents plays a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.<br /> <br /> 4.2.1. Expanding knowledge<br /> <br /> Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future, in addition to having a solid foundation in language ability, they should also take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills. A very good way to expand their knowledge is to improve their search ability. Search ability, specifically, refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students is urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)<br /> <br /> 4.2.2. Emphasize theory and practice more<br /> <br /> Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics, not only the translation skills and theories，but also practice more. Theories that are out of practice cannot keep up with the development of the times. Students must spend enough time in practicing. They can go to the front line of production or go deep into all aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.<br /> <br /> ==='''5.Conclusion'''===<br /> <br /> This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the concept of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Those engaged in translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and so on. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.<br /> <br /> President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies were not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, draw on the latest foreign translation theories, combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. (Zhong Weihe, Zhao Tianyuan 2020) The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.<br /> <br /> ==='''References'''===<br /> Holmes, James S. (1972). The Name and Nature of Translation Studies. ''Papers on Literary Translation and Translation Studies''. 67–80.<br /> <br /> Bo Zhenjie, Li Heqin.薄振杰,李和庆.(2011).关于当前中国翻译教学研究的思考.[ Reflection on the Current Research of Translation Teaching in China].外语界[''Foreign Language World''] 76-83.<br /> <br /> Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].<br /> <br /> Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.<br /> <br /> Jiang Feifei.姜菲菲.(2019).中国文化走出去背景下对翻译学科的综述. [A Summary of Translation Studies from the Background of Outputting Chinese Culture].校园英语[''English Campus'']7-8. <br /> <br /> Lan Hongjun.蓝红军.(2018)从学科自觉到理论建构:中国译学理论研究(1987-2017). 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[The Status Quo of Translation Teaching in China and the cultivation of Interdisciplinary Translators].文存阅刊[''Wen Cun Journal''] 87.<br /> <br /> Wang Na.王娜. (2020).MTI在校生搜索能力不足成因分析. [An Analysis of the Causes of Insufficient Searching Ability of MTI Students].海外英语[''Overseas English''] 194-195.<br /> <br /> Zhong Weihe.仲伟合.(2019).改革开放40年我国翻译专业教育:成就、挑战与发展. [China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.<br /> <br /> Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.<br /> <br /> ==The influence of translator's cultural identity on translation 周玉娟 Zhou Yujuan== <br /> &lt;center&gt;周玉娟 Zhou Yujuan 202020080674 亚非语言文学波斯语方向 .&lt;/center&gt;<br /> <br /> &lt;center&gt;The influence of translator's cultural identity on translation.&lt;/center&gt;<br /> <br /> ===Abstract===<br /> Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.<br /> <br /> ===Keywords===<br /> translation; translator; cultural identity; Shakespeare's plays<br /> <br /> ===题目===<br /> 译者文化身份对翻译的影响<br /> <br /> ===摘要===<br /> 梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。<br /> <br /> ===关键词===<br /> 翻译；译者；文化身份；莎士比亚剧<br /> <br /> ===Introduction===<br /> Translating a work is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important active role in both translating the content and interpreting it, and the translator is the first person who is in direct contact with the original text.<br /> <br /> Benjamin, the famous German literary critic, once said : &quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &quot;cultural identity&quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)<br /> <br /> There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.<br /> <br /> === Introduction to the identity of the translator===<br /> Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.<br /> <br /> Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.<br /> <br /> &quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&quot; (Xi Yongji. 2007:245)<br /> <br /> ====Zhu Shenghao's Cultural Identity====<br /> Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.<br /> <br /> In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.<br /> <br /> Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on naturalization strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.<br /> <br /> ====Liang Shiqiu's Cultural Identity====<br /> Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.<br /> <br /> However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &quot;All civilization is the original creation of a very few geniuses&quot;, &quot;literature and art are the original creation of a few geniuses&quot;, &quot;there is no literature and art for the majority, and literature and art are not for the majority &quot;. (Liang Shiqiu: R.O.C. 23) &quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&quot; <br /> As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12) <br /> <br /> We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &quot;genius literature&quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese literary world. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.<br /> <br /> ====Foreignization and domestication Strategies====<br /> According to Venuti, domestication is &quot;bringing the original author into the desired language and culture of the translation&quot;, while dissimilation is &quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&quot; (Venuti, 1995:20). (Venuti, 1995:20)<br /> <br /> Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.<br /> <br /> The method of Foreignization is: &quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.<br /> <br /> ===The cultural identity of translators in translation===<br /> First, the translator is the second pair of eyes of the reader. &quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.<br /> <br /> Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.<br /> <br /> ====In terms of the original intention of translation====<br /> The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &quot;interest&quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao himself said, &quot;I love Shakespeare's plays so much and so only that I have tried to read the whole text at least ten times from the beginning to the end. ......&quot; Zhu's love for Shakespeare is so strong that &quot;He was so passionate about Shakespeare that he would not stop reading Shakespeare, not eating it. <br /> <br /> In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.<br /> <br /> Liang Shiqiu believes that there is a distinction between elegant and vulgar literature, genius is to appreciate literature, the general public to read are popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &quot;the highest art only a few people can understand ......, literature and art is not the majority.&quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &quot;literature is created by genius&quot;.<br /> <br /> When he studied at Harvard University, he took the course &quot;Literary Criticism after the Sixteenth Century&quot; by the American neoclassicist Byrd Byrd, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &quot;preserve the most authentic things&quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &quot;hard translations&quot; and &quot;bent translations&quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)<br /> <br /> ====In terms of the content of the translation (taking the translation of Shakespeare as an example)====<br /> Zhu Shenghao stated at the beginning of his translation: &quot;My aim in translating this book is, first, to maintain the charm of the original work to the greatest extent possible, and then to consider the second point if it is not feasible, that is, to convey faithfully the meaning and feelings of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao's translation of Sha plays more attention to the performance function of drama.<br /> <br /> For example: ( the translation of Zhu Shenghao)<br /> <br /> EGEUS: Stand forth，Demetrius． My noble lord，<br /> 伊吉斯:走上前来，狄米特律斯。殿下，这个人，<br /> <br /> This man hath my consent to marry her．<br /> 是我答应把我女儿嫁给他的<br /> <br /> Stand forth，Lysander．<br /> 走上前来，拉山德。<br /> <br /> And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）<br /> 殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）<br /> <br /> In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &quot;purified&quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. <br /> For example, his translation. <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)<br /> <br /> 拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!<br /> 否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。<br /> <br /> Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &quot;faithfulness and fidelity&quot;. The style of &quot;faith&quot; and &quot;faithfulness&quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.<br /> <br /> First: Stay true to the original text and try not to delete or subtract from it.For example:<br /> <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)<br /> <br /> Translation of Liang Shiqiu:<br /> <br /> 赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，<br /> <br /> 否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。<br /> <br /> HELENA She was a vixen when she went toschool: <br /> <br /> And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)<br /> <br /> 海 上学时她就是个狐狸精。<br /> <br /> 她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。<br /> <br /> Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &quot;Shakespearean&quot;. &quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&quot;. (Liang Shiqiu. 1966) <br /> Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. <br /> <br /> For example, a fragment of Liang Shiqiu's translation of Hamlet.<br /> <br /> Queen. There is a willow grows aslant a brook,<br /> That shows his hoar leaves in the glassy stream;<br /> There with fantastic garlands did she come,<br /> Of crow-flowers, nettles, daisies, and long purples,<br /> That liberal shepherds give a grosser name.<br /> But our cold maids do dead man’s fingers call them:<br /> There, on the pendent boughs her coronet weeds<br /> Clambering to hang ,an envious sliver broke,<br /> When down her weedy trophies and herself<br /> Fell in the weeping brook. Her clothes spread wide;<br /> And, mermaid-like, awhile they bore her up;<br /> Which time she chanted snatches of old tunes; As one<br /> incapable of her own distress,<br /> Or like a creature native and indu’d<br /> Unto that element: but long it could not be<br /> Till that her garments ,heavy with her drink,<br /> Pull’d the poor wretch from her melodious lay<br /> To muddy death.<br /> （shakespeare, hamlet, act Ⅳ, scenceⅦ）<br /> <br /> The translation of Liang Shiqiu：<br /> <br /> 河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。<br /> <br /> ===Conclusion===<br /> The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. <br /> <br /> For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. <br /> <br /> By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.<br /> <br /> ===References===<br /> <br /> Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．<br /> <br /> Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)<br /> <br /> Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary]. 台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.<br /> <br /> Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.<br /> <br /> Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128.. <br /> <br /> Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.<br /> <br /> Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.<br /> <br /> Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．<br /> <br /> Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．<br /> <br /> Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004<br /> <br /> Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.<br /> <br /> Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001<br /> <br /> Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．<br /> <br /> Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.<br /> <br /> ==Descriptive translation studies 曹润鑫 Cao Runxin==<br /> <br /> ===Abstract===<br /> The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.<br /> <br /> ===Key words===<br /> Descriptive translation studies; Translation studies<br /> <br /> ===摘要===<br /> 描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍<br /> <br /> ===关键字===<br /> 描述翻译学；翻译研究<br /> <br /> ===Introduction===<br /> Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &quot;faithfulness&quot; and &quot;equivalence&quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.<br /> <br /> Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &quot;cultural shift&quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &quot;faithful&quot; and &quot;reciprocal&quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.<br /> <br /> In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &quot;how translation should be&quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.<br /> <br /> ===Tuli and ''Descriptive translation''===<br /> The concept of &quot;descriptive translation&quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &quot;The Name and Reality of Translation Studies&quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.<br /> <br /> Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.<br /> <br /> In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&quot;. [3]<br /> <br /> According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &quot;(more) objective&quot; norms, while the latter are &quot;(more) subjective&quot; i.e. &quot;less objective&quot;. The concept of the This concept is very important in its theoretical system.<br /> <br /> He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]<br /> <br /> According to Tuli, &quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.<br /> Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &quot;translations&quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent. &quot;Exoticism&quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &quot;translation tone&quot; in the text. Due to the real existence of &quot;translation cavity&quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &quot;translation cavity&quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.<br /> <br /> Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &quot;credible&quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112<br /> <br /> According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.<br /> <br /> Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.<br /> <br /> In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &quot;meta-prescriptive&quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &quot;translation studies can never be merely descriptive&quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.<br /> <br /> === Hermanns and ''Translation in Systems''===<br /> The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.<br /> <br /> Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &quot;norm&quot; and Chesterman's &quot;norm&quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.<br /> <br /> The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &quot;reciprocity&quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &quot;norm&quot; and introduces the &quot;norm&quot; proposed by Tully and the &quot;norm&quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.<br /> <br /> Scholars who study descriptive translation have proposed that literature should be regarded as &quot;a complex and dynamic system&quot;, and that literary translation studies should &quot;adopt a descriptive, target-language-based, functional and systematic research approach&quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.<br /> <br /> ===Conclusion===<br /> Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.<br /> <br /> ===References===<br /> [1]李红满.论当代西方翻译研究范式的转变[J].外语与翻译, 2002 (2) .<br /> <br /> [2]张美芳.翻译学的目标与结构——霍姆斯的译学构想介评[J].中国翻译, 2000 (2) .<br /> <br /> [3]Toury, Gideon.Descriptive Translation Studies and Beyond[M].Shanghai:Shanghai Foreign Language Education Press, 2001.<br /> <br /> [4]林克难.翻译研究:从规范走向描写[J].中国翻译, 2001 (6) .<br /> <br /> [5]Vermeer, Hans J.A Skopos Theory of Translation[M].Heidellburg:TEXT-con, 1996.<br /> <br /> [6]Venuti.Lawrence.The Translator’s Invisibility[M].A History of Transla-tion.London&amp;New York:Routledge, 1995.<br /> <br /> [7]Snell-Homby, Mary.Translation Studies.AnIntegrated Approach[M].Re-vised ed.Amsterdam:John Benjamins, 1995.<br /> <br /> [8]Hemans, Theo, ed.The manipulation of Literature[M].London&amp;Sydney:Croom Helm, 1985.<br /> <br /> [9]韩子满, 刘芳.描述翻译研究的成就与不足[J].外语学刊, 2005 (3) .<br /> <br /> [10]谢天振.翻译研究新视野[M].青岛:青岛出版社, 2003.<br /> <br /> [11]张南峰.从梦想到现实——对翻译学科的东张西望[J].外国语, 1998 (3) .<br /> <br /> ==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==<br /> <br /> &lt;center&gt;肖伊宁 Xiao Yining 202020080655&lt;/center&gt;<br /> <br /> ===Abstract:=== <br /> This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and deeply understand the status of descriptive translation studies.<br /> <br /> ===摘要：===<br /> 本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，深刻理解描写性翻译研究的地位。<br /> <br /> ===Key words:===<br /> descriptive translation studies; normative translation studies; limitation; necessity; relationship.<br /> <br /> ===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.<br /> <br /> ===Chapter 1 Introduction===<br /> <br /> Translation has a history of more than 2000 years. In the long-term and varied translation activities of translation, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）<br /> <br /> Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &quot;faithfulness, expressiveness and elegance&quot;, Lu Xun's &quot;rahter to be faithful than smooth&quot; and Lin Yutang's &quot;faithfulness smoothness elegance&quot;. （Liao Qiyi 2002，6）<br /> <br /> In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) <br /> <br /> However, these translation studies are actually &quot;normative&quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &quot;misleading readers&quot; or &quot;unfaithful to the original work&quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)<br /> <br /> ===Chapter 2 The emergence and development of descriptive translation studies===<br /> <br /> In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.<br /> <br /> ====2.1 John MacFarlane====<br /> <br /> In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &quot;ideal&quot; or &quot;real&quot; translation.(Lin Kenan 2001, 44)<br /> <br /> Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)<br /> <br /> ====2.2 Firth====<br /> <br /> Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) <br /> <br /> ====2.3 James Holmes====<br /> <br /> With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）<br /> <br /> &quot;He divides translation studies into three categories:<br /> (1) Description: to describe the special phenomenon of translation in real life;<br /> (2) Theory: establishing the principle of explaining translation phenomena;<br /> (3) Application: the information obtained from the former two is used in translation practice and translator training.&quot;（Liao Qiyi 2002，54） <br /> <br /> He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. <br /> <br /> For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&quot;（Liao Qiyi 2002，55）<br /> <br /> Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）<br /> <br /> Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&quot; (Hermans 1985, 14). <br /> <br /> However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.<br /> <br /> ====2.4 Polysystem Theory====<br /> <br /> In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &quot;The polysystem（多元体系派） is not satisfied with the achievements made by the translation studies（翻译研究派）. It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &quot;polysystem&quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&quot;（Liao Qiyi 2002, 59）<br /> <br /> According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）<br /> <br /> Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）<br /> <br /> ====2.5 Gideon Toury<br /> <br /> Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）<br /> <br /> This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）<br /> <br /> Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &quot;one to one correspondence&quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）<br /> <br /> In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &quot;International Journal of translation studies&quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. <br /> <br /> Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &quot; (Toury 2012. xii)<br /> <br /> He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.<br /> <br /> ====2.6 Snell-Hornby<br /> <br /> In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. <br /> <br /> Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &quot;Description&quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)<br /> <br /> ===Chapter 3 The relationship between normative translation studies and descriptive translation studies===<br /> <br /> ====3.1 The value of descriptive translation studies and the limitations of normative translation studies====<br /> <br /> In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.<br /> <br /> Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) <br /> <br /> Maria Tymoczko believes that：&quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.<br /> <br /> Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) <br /> <br /> Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：<br /> <br /> (1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. <br /> <br /> However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &quot;translation&quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)<br /> <br /> (2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &quot;the wrong way of translation&quot;. (Liu Yingkai 1987, 22) <br /> <br /> The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &quot;the gain and loss of a work should be measured from the perspective of history&quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) <br /> <br /> ====3.2 The limitations of descriptive translation studies and the value of normative translation studies====<br /> <br /> First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory has certain progressive significance and reference, it is not perfect.(Liu Zongyan 2008, 201) <br /> <br /> Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &quot;detached and purely descriptive attitude.&quot; ( Hermans 1999 , 36) <br /> <br /> This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &quot;meta - prescriptive&quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &quot;translation studies can never be merely descriptive&quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)<br /> <br /> On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. <br /> Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)<br /> <br /> ====3.3 The relationship between prescriptive translation studies and descriptive translation studies====<br /> <br /> In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )<br /> <br /> The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.<br /> <br /> ===Chapter 4 Conclusion=== <br /> <br /> Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.<br /> <br /> Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.<br /> <br /> Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.<br /> <br /> ===Chapter 5 Reference===<br /> Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.<br /> <br /> J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press, 20.<br /> <br /> Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.<br /> <br /> Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.<br /> <br /> Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.<br /> <br /> Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.<br /> <br /> Snell-Hornby.(1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.<br /> <br /> Han Ziman 韩子满，Liu Fang 刘芳（2005）. 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).<br /> <br /> Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]<br /> <br /> Lin Kenan 林克难. (2001).翻译研究：从规范走向描写[Translation Studies: From the Prescriptive <br /> to the Descriptive Approach].中国翻译[Chinese Translation Journal](06).<br /> <br /> Liu Zongya 刘宗衍. 浅谈翻译理论的“规范”性[On the &quot;Normative&quot; Nature of Translation Theory]. 科技资讯[Science &amp; Technology Information]<br /> <br /> Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).<br /> <br /> Zhang Nanfeng 张南峰.(2002).多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).<br /> <br /> ==Translation Strategies== Sagara Seydou , Student No :201911080004, Major ;Translation Studies <br /> Translation Strategies <br /> Abstract <br /> Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.<br /> <br /> Key words: translation strategies and translational problems.<br /> <br /> This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;<br /> Introduction<br /> The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers define them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical significance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)<br /> <br /> Content<br /> Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classifications from different perspectives. For example, Lörscher’s (1991) classification is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classifications. It seems that clear-cut definitions of these terms might not work as well as prototype definitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)<br /> The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reflect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reflects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)<br /> <br /> The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp fiction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp; Munday,2004, p. 230)<br /> Having discussed the two prototype strategies, let us turn to the definitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few defining characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difficulty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).<br /> Problems, according to their scale, can be divided into global (or general) problems and local (or specific) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “specific activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle specific problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by specific techniques, which affect the translation result and the micro-units of the text, and are classified by comparison with the source text (Molina &amp; Hurtado Albir, 2002, p. 509).<br /> As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural filtering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.<br /> However, this is not consonant with the dictionary definitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is defined as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) defines translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will influence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identified the following text processing strategies: (a) problem identification, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal significant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can find out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280). Darwish (2008) identifies four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70).<br /> However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might influence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difficulty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.<br /> <br /> Conclusion<br /> In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.<br /> References<br /> Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp; J. Laffling(Eds.), Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 07:56, 17 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=History_of_Translation_Studies_10&diff=114251 2020-12-18T05:12:42Z

<p>Sagara Seydou 3: </p> <hr /> <div> ==Translation Strategies== Sagara Seydou , Student No :201911080004, Major ;Translation Studies <br /> Translation Strategies <br /> Abstract <br /> Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.<br /> <br /> Key words: translation strategies and translational problems.<br /> <br /> This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;<br /> Introduction<br /> The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers define them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical significance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)<br /> <br /> Content<br /> Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classifications from different perspectives. For example, Lörscher’s (1991) classification is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classifications. It seems that clear-cut definitions of these terms might not work as well as prototype definitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)<br /> The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reflect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reflects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)<br /> <br /> The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp fiction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp; Munday,2004, p. 230)<br /> Having discussed the two prototype strategies, let us turn to the definitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few defining characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difficulty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).<br /> Problems, according to their scale, can be divided into global (or general) problems and local (or specific) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “specific activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle specific problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by specific techniques, which affect the translation result and the micro-units of the text, and are classified by comparison with the source text (Molina &amp; Hurtado Albir, 2002, p. 509).<br /> As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural filtering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.<br /> However, this is not consonant with the dictionary definitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is defined as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) defines translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will influence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identified the following text processing strategies: (a) problem identification, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal significant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can find out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280). Darwish (2008) identifies four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70).<br /> However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might influence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difficulty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.<br /> <br /> Conclusion<br /> In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.<br /> References<br /> Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp; J. Laffling(Eds.), Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.-</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=History_of_Translation_Studies_10&diff=113506 2020-12-17T08:15:31Z

<p>Sagara Seydou 3: </p> <hr /> <div>这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> *Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> *Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]<br /> *Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].<br /> ='''Functional Equivalence'''=<br /> <br /> <br /> == On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==<br /> <br /> ===Abstract===<br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.<br /> <br /> ===key words===<br /> <br /> functional equivalence, formal equivalence, translation<br /> <br /> ===摘要===<br /> 翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。<br /> <br /> ===关键字===<br /> 功能对等，形式对等，翻译<br /> <br /> ===Introduction===<br /> <br /> As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. <br /> <br /> Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.<br /> <br /> ===Functional Equivalence===<br /> In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)<br /> <br /> Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). <br /> <br /> To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. <br /> Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.<br /> <br /> ===Formal equivalence===<br /> <br /> Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） <br /> <br /> Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.<br /> <br /> ===Relationship between functional equivalence and formal equivalence===<br /> In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.<br /> <br /> For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.<br /> <br /> Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.<br /> <br /> Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.<br /> <br /> Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.<br /> <br /> ===Application of functional equivalence and functional equivalence in translation===<br /> <br /> Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.<br /> <br /> ====Lexical equivalence====<br /> <br /> Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.<br /> <br /> Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. <br /> <br /> It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. <br /> “When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”<br /> In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.<br /> <br /> ====Syntax equivalence====<br /> <br /> Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: <br /> “Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”<br /> Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。<br /> <br /> We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.<br /> When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. <br /> There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:<br /> “You’re not a student,are you?”<br /> “Yes, I am.” <br /> Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.<br /> <br /> ====Texual equivalence====<br /> <br /> Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. <br /> <br /> Example: “祥子！”她往前凑了凑：“我有啦！” <br /> “有了什么？”他一时蒙住了。<br /> “这个！”她指了指肚子。“你打主意吧！”<br /> Translation: “Xiangzi,” she came closer. “I am in trouble!”<br /> “What trouble?” He was startled.<br /> “This!” She pointed her belly. “What was you going to do about it?”<br /> According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.<br /> <br /> In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner connotation it bears. <br /> Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. <br /> Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.<br /> <br /> The last element we should never ignore is cultural context given that there are great cultural differences between English and Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.<br /> Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.<br /> We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.<br /> <br /> ====Stylistic equivalence====<br /> <br /> Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.<br /> Example: 清明<br /> 杜牧<br /> 清明时节雨纷纷，路上行人欲断魂。<br /> 借问酒家何处有? 牧童遥指杏花村。<br /> Translation by Wu Juntao:<br /> The Pure Brightness Day<br /> By Du Mu<br /> It drizzles thick and fast on the Pure Brightness Day,<br /> I travel with my heart lost in dismay.<br /> “Is there a public house somewhere, cowboy?”<br /> He points at Apricot Village faraway.<br /> <br /> In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..<br /> Translation by Xu Yuanchong:<br /> The Mourning Day<br /> By Du Mu<br /> A drizzling rain falls like tear on the Mourning Day;<br /> The mourner’s heart is going to break on his way.<br /> Where can a wineshop be found to drown his sad hours?<br /> A cowherd points to a cot ’mid apricot flowers. <br /> <br /> In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.<br /> <br /> ===Conclusion===<br /> <br /> Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation. <br /> <br /> Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)<br /> <br /> ===References===<br /> <br /> Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.<br /> <br /> Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.<br /> <br /> Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．<br /> <br /> Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.<br /> <br /> Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.<br /> <br /> Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &quot;Faithfulness, Expressiveness and Elegance&quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.<br /> <br /> Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.<br /> <br /> Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.<br /> <br /> Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.<br /> <br /> Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.<br /> <br /> 尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．<br /> <br /> Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).<br /> <br /> UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．<br /> <br /> == My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==<br /> <br /> == Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==<br /> &lt;center&gt;肖茜 Xiao Xi No.202020080654&lt;/center&gt;<br /> ===Abstract===<br /> Hao Jingfang's science fiction &quot;Folding Beijing&quot; won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu's rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of the theory of Nida's functional equivalence to &quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&quot;. The theory of Nida's functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu's application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.<br /> <br /> ===Key words===<br /> Functional Equivalence; Folding Beijing; meaning; style; culture<br /> <br /> ===题目===<br /> 刘宇昆翻译中的功能对等-以《北京折叠》为例<br /> ===摘要===<br /> 郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。<br /> <br /> ===关键词===<br /> 功能对等；《北京折叠》；意义；风格；文化<br /> <br /> ===Introduction===<br /> In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.<br /> <br /> This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers' understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida's functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.<br /> <br /> ===1. Eugene A. Nida and His Theory of Functional Equivalence===<br /> <br /> Eugene A. Nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work Toward a Science of Translating. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers' response, not just the equivalence of content and form. In his book The Theory and Practice of Translation, Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida's dynamic equivalence theory requires that the translation readers' response to the translation should be consistent with that of the original readers. <br /> <br /> Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &quot;The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers did&quot; (Nida 1993:118). <br /> <br /> In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the receptor-language reader's response, (3) the receptor language and culture as a whole. Nida defined the reader's response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader's response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.<br /> <br /> ===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===<br /> <br /> ====2.1 Functional Equivalence from Aspect of Meaning====<br /> <br /> Nida and Taber (2004：12) stated that &quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&quot; Meaning in this chapter will from three levels to discuss: words, sentences and passages, in other words, these three levels is a detailed analysis of the lexicon, syntax and discourse. According to the functional equivalence theory, translation should not only achieve literal equivalence, but also discover the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in the translation of Folding Beijing from lexical, syntactic and discourse perspectives.<br /> <br /> =====2.1.1 Lexical level=====<br /> <br /> In literary translation, how to correctly interpret the meaning of a word or phrase is always a difficult problem. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is most appropriate. In the English translation of Folding Beijing, there are many examples to illustrate how the translation achieves functional equivalence with the source text in the lexical level as follows:<br /> <br /> Example 1:<br /> “食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）<br /> <br /> &quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&quot; (Ken Liu 2015)<br /> <br /> Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &quot;the plastic tables at the food hawker stalls&quot; for readers to understand. &quot;Sour and spicy powder&quot; is originally a kind of Chinese noodles. The author uses &quot;hot and sour rice noodles&quot; to describe the taste of sour and spicy and the raw material of noodles is rice.<br /> <br /> Example 2:<br /> “这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）<br /> <br /> &quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&quot; (Ken Liu 2015)<br /> <br /> The translator uses &quot;a toothpick dangling between his lips&quot; to describe the action of picking teeth，it's more detailed and vivid. “懒散不修边幅” is translated into &quot;lazy and slovenly&quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &quot;the appearance of being perpetually grumpy&quot;, in this way, the translation better expresses the author's intention to express the meaning of looking bad-tempered. <br /> <br /> Example 3:<br /> “霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）<br /> <br /> &quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&quot; (Ken Liu 2015)<br /> <br /> The author did not translate directly “闪烁的小灯” into &quot;the little flashing lights &quot;, but &quot;Tiny flashing LEDs&quot;. This is also because of the translator's own understanding of the text, he wants the readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &quot;lapi&quot;, which is to show the original meaning.<br /> <br /> =====2.1.2 Syntactic Level=====<br /> <br /> Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese. The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, conjunctions and relationship between words in English use frequency is very high. Secondly, English speakers put attention on object consciousness and used to the order from a small object to a large one, from specific to general; In Chinese texts, there is usually a temporal, spatial or causal sequence of time sequence. Finally, English language usually emphasizes important information at the beginning of a sentence, while the Chinese language tends to process information from the obsolete to the fresh for the purpose of impressing people.<br /> <br /> In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a proper form. The following are some examples to show that how English translation oh Folding Beijing achieves functional equivalence to the original text in syntactic level: <br /> <br /> Example 1:<br /> “ ‘现在政府太混沌了，做事太慢，僵化，体系也改不动。’他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。’他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’” （Jingfang Hao 2016:15）<br /> &quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&quot; (Ken Liu 2015)<br /> We can see that in the translation of this paragraph, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the readers have supplemented and translated this sentence into &quot;I'll also work to expand the pool of candidates for government service and promotion&quot;, The translator perfectly explains what &quot;放开&quot; means.<br /> <br /> Example 2:<br /> “昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）<br /> <br /> “Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) <br /> <br /> In this passage, the text refers to “过去” twice with emphasis. In order to achieve the same emphasis in the English translation, the author chose to adjust the word order, placing &quot;In the dim lamplight&quot; between the two sentences, rather than using a subordinate clause like &quot;…childhood that…&quot;.<br /> <br /> Example 3:<br /> “再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）<br /> <br /> &quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&quot; (Ken Liu 2015)<br /> <br /> In this passage, we can see clearly that English has many more conjunctions than Chinese, like &quot;as though&quot;, &quot;from where&quot; and &quot;that&quot;, this is because of the difference in syntax between the two languages.<br /> <br /> =====2.1.3 Discourse level=====<br /> <br /> Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &quot;rewrite&quot; to make the translated text acceptable to readers. In literary translation, the translator should pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in the level of discourse. The following part selects a dialogue and its English translation in Folding Beijing as an example of literary translation to achieve functional equivalence in discourse level.<br /> <br /> “所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”<br /> <br /> 老刀没有动筷子。他很饿，可是他觉得这时不能吃。<br /> <br /> “可是这等于我也得撒谎。”<br /> <br /> 依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)<br /> <br /> &quot;And so&quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&quot; <br /> <br /> Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.<br /> <br /> &quot;Then I'd be lying, too,&quot; Lao Dao said.<br /> <br /> Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &quot;Please accept this token of my appreciation.&quot; (Ken Liu 2015)<br /> <br /> The conversational habits in Chinese are different from those in English, so some adjustments are often made when translating. The form of the dialogue is not completely translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”translated into &quot;spooned a serving of the new hot dish&quot;, the translator changed the action to &quot;spoon&quot;, which is more suitable for Yi Yan's identity image, it is more suitable as a girl in the first space to spoon the vegetables to Lao Dao. “推给老刀”translated into &quot;She pushed them across the table toward Lao Dao&quot;, this sentence adds some action to make it more pictorial.<br /> <br /> ====2.2 Functional Equivalence from Aspect of Style====<br /> <br /> Every writer has his own writing style, and no one can imitate it perfectly. That is to say, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows the language characteristics, and the English translation can also see that the translator tries to achieve the functional equivalence on the stylistic level.<br /> <br /> =====2.2.1 Rhetoric=====<br /> <br /> First of all, rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form and is a counterpart of dialectic. The use of rhetoric can create vivid images, vivid scenes, improve the effect of literature.<br /> <br /> Example 1:<br /> 老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)<br /> <br /> &quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&quot; (Ken Liu 2015)<br /> <br /> In this passage, the original text compares a hungry stomach to an abyss, and the English translation also uses this metaphor to form a rhetorical functional equivalence.<br /> <br /> Example 2:<br /> 不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)<br /> &quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&quot; (Ken Liu 2015)<br /> <br /> In this paragraph, it is a metaphor, and the words &quot;西山&quot; and &quot;孤&quot; in the original text are not translated, only translated into &quot;an island in the sea&quot;, this description is enough to show the image of a folded city.<br /> <br /> Example 3:<br /> 高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)<br /> <br /> &quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&quot; (Ken Liu 2015)<br /> <br /> It has a personification in this paragraph, &quot;skyscrapers&quot; have &quot;heads, feet, necks and arms&quot;, and &quot;like the humblest servants&quot;, the use of rhetoric enables people to imagine the folding picture of the city through the human image. By comparing the building to a herd of beasts, it shows its size and the sense of fear and oppression it brings.<br /> <br /> Example 4:<br /> 直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)<br /> <br /> &quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&quot;(Ken Liu 2015)<br /> <br /> In this sentence, although &quot;怪胎&quot; translate into &quot;monster&quot;, the &quot;生&quot;express also the same meaning, so the translator does not struggle.<br /> <br /> =====2.2.2 Dialects=====<br /> <br /> Dialect embodies the local characteristics, is the author's own writing style. Sometimes it's a problem in translation. In the following example, we can see how the translator handles this problem.<br /> <br /> For example, &quot;伙计&quot; in English &quot;waiter&quot; ,&quot;铺盖卷&quot; in English &quot;bedrolls&quot; ,&quot;闺女&quot;is translated as &quot;real daughter&quot; ,&quot;她们认死理儿&quot; is translated as &quot;they don't know how to be flexible&quot;,&quot;只是这么多年过来，人就木了.&quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.<br /> <br /> In short, whether the use of rhetoric or dialect in literature, can fully reflect the author's writing style. Therefore, in literary translation, the translator should study the differences between the source language and the target language in the ways to express stylistic differences, and find out the best way to make up for these differences. In this way, literary translation can achieve maximum functional equivalence at the stylistic level.<br /> <br /> ====2.3 Functional Equivalence from Aspect of Culture====<br /> <br /> In the process of translation, the cultural difference between the two languages is also an issue that translators should pay attention to. People who come into contact with different cultures have different ways of thinking, values and social customs and so on. Translators need to understand the two cultures and fully express the cultural elements contained in the original text. At this time, translation plays a role in cross-cultural communication. The translator must present the cultural meaning shown or implied in the original text to the readers so that the translation can achieve the cultural equivalence with the original text. In this chapter, we will analyze the English translation of Folding Beijing from the perspective of food culture, folk culture and culture of idioms, so as to explain how it achieves the functional equivalence with the original text.<br /> <br /> =====2.3.1 Food Culture=====<br /> <br /> The city described by Beijing Folding is the political and cultural center of China, and it is a city with profound cultural deposits. There are a lot of contents belonging to traditional Chinese food culture in the novel. This part will analyze how the translator translates these delicacies to achieve functional equivalence.<br /> <br /> Example 1:<br /> &quot;…面前摆着一盘炒面或炒粉… &quot;(Jingfang Hao 2016:2)<br /> <br /> &quot;Each kid had a plate of chow mein or chow fun…&quot; (Ken Liu 2015)<br /> <br /> &quot;炒面&quot;is a well-known traditional snack in China. The translator makes it into &quot;chow mein&quot;, rather than &quot;Chinese stir-fried noodles&quot;. In the dictionary, &quot;chow mein&quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also makes it more intuitive for the reader to know what the food is.<br /> <br /> Example 2:<br /> &quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&quot;(Jingfang Hao 2016:32)<br /> <br /> &quot;…over a half bottle of baijiu…&quot; (Ken Liu 2015)<br /> <br /> The foreignizing translation is adopted here, &quot;白酒&quot; is translated into &quot;baijiu&quot; , the translator doesn't use the word like &quot;spirits&quot;, it not only retains Chinese cultural characteristics, but also achieves communicative effect.<br /> <br /> Example 3:<br /> &quot;哎，你们知道那儿一盘回锅肉多少钱吗？&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…how much they charge for an order of twice -cooked pork over there?&quot; (Ken Liu 2015)<br /> <br /> The special feature of this dish is that it is boiled in water and then stir-fried. The translator captures this feature in the translation, trying to make people understand the meaning of &quot;回锅&quot;, and this dish is made with pork, he wants readers of the English translation to see an image of the dish in their heads in the same way that Chinese people do.<br /> <br /> =====2.3.2 Folk Culture=====<br /> <br /> Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.<br /> <br /> Example 1:<br /> &quot;…几个人分吃两个菜…&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…and they shared two dishes family-style.&quot; (Ken Liu 2015)<br /> <br /> &quot;分吃&quot; is the most common way of eating in traditional Chinese culture, where several dishes are shared among friends and family. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he use the word &quot;shared&quot; and he add the word &quot;family-style&quot; to make it easier for the reader to understand the behavior. <br /> <br /> Example 2:<br /> &quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&quot;(Jingfang Hao 2016:27)<br /> <br /> &quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&quot; (Ken Liu 2015)<br /> <br /> The culture of hometown is a major feature of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &quot;老乡&quot; from a geographical perspective. &quot;管事儿&quot;means to have some authority. The translator also explains this word so that readers can understand it easily.<br /> <br /> Example 2:<br /> &quot;一点心意，你收下。&quot; (Jingfang Hao 2016:23)<br /> <br /> &quot;Please accept this token of my appreciation.&quot;(Ken Liu 2015)<br /> <br /> In this passage, Yi Yan said that she hoped Lao Dao could help her keep a secret, so she wanted to give Lao Dao with money. &quot;心意&quot; means money, which is a euphemism used in China when it is inconvenient to offer money directly. In the translation, the translator also considered a euphemistic way of expression, so he used the word &quot;appreciation&quot;.<br /> <br /> =====2.3.3 Culture of Idioms=====<br /> <br /> Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.<br /> <br /> The author used many idioms in the article, such as &quot;饿虎扑食&quot;, the translator translated it into &quot;ate heartily&quot;, although the translation is easy to understand, but without the image that people are very hungry to eat, from the perspective of functional equivalence, English readers seem to be unable to reach the same level of understanding and response as Chinese readers. And &quot;（盘子）一片狼藉&quot;translated into &quot;The dishes were a mess&quot;, it is a brief description of the mess. And &quot;成人之美&quot; translated into &quot;in that case I'll have done a good deed by keeping silent&quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he was keeping secrets and that Yi Yan and Qin Tian might get together in the future. The translator abstractly translated the sentence in the English translation.<br /> <br /> ===Conclusion===<br /> <br /> From the analysis of the English translation of Folding Beijing from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of Folding Beijing to the English reader.<br /> <br /> Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is essentially the same as that of the source language readers, so the target language can be regarded as a functional equivalence translation. Analyzed from three aspects: meaning, style and culture &quot;Beijing fold&quot; English version, you can see on the language, while Chinese and English in logic and grammar are greatly different, there exist many differences in the Chinese culture and western culture, but the translator still tries his best to keep the content of the original text in the translation and find more appropriate words. In terms of some specific content, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction, which is of great value.<br /> <br /> ===References===<br /> <br /> [1] Hao Jingfang. Folding Beijing [J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy, 2015.<br /> <br /> [2] Nida, Eugene A. Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press,1993<br /> <br /> [3] Nida, Eugene A. Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001<br /> <br /> [4] Nida, Eugene A. &amp; Taber, Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2004<br /> <br /> [5] 郝景芳.孤独深处[M].南京：江苏凤凰文艺出版社，2016：1-40<br /> <br /> [6] 谭载喜.新编奈达论翻译[M].北京：中国对外翻译出版公司，1999<br /> <br /> [7] 许钧，穆雷.翻译学概论[M].南京：译林出版社，2009<br /> <br /> [8] 赵丹丹.浅论奈达的功能对等理论[J].文学教育，2011<br /> <br /> [9] 周兴阳.从功能对等理论视角看《北京折叠》英译本研究[J].新疆大学，2018<br /> <br /> [10] 王桂圆.系统功能语言学视角下《北京折叠》英译研究[J].海外英语，2018<br /> <br /> ==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==<br /> ===Abtract===<br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. <br /> ===Key Words===<br /> Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong<br /> ===题目 ===<br /> 功能对等理论下余光中译《不可儿戏》分析<br /> ===摘要===<br /> The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。<br /> ===关键词===<br /> 功能对等；《不可儿戏》；余光中<br /> ===Introduction===<br /> The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.<br /> <br /> “The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.<br /> <br /> ===An Introduction of Functional equivalence===<br /> ====The Definition of Functional Equivalence====<br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.<br /> <br /> ====Three Steps of Translation====<br /> Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.<br /> <br /> Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.<br /> <br /> Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.<br /> <br /> ===''The Importance of Being Earnest'' and Its Chinese Versions===<br /> ====An Introduction of Oscar Wilde and His Works====<br /> Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014). <br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.<br /> <br /> As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.<br /> <br /> ====Chinese Versions of The Importance of Being Earnest====<br /> =====An Overview of Its Chinese Versions =====<br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts.<br /> <br /> In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006). Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.<br /> <br /> =====Yu Guangzhong and His Chinese Version=====<br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.<br /> <br /> He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.<br /> <br /> ===The Application of Functional Equivalence to Yu Guangzhong’s Version===<br /> ====Translation Strategies of Yu Guangzhong’s Version==== <br /> =====Translation of the Drama Title=====<br /> So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).<br /> <br /> “Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”(Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference.<br /> <br /> =====Translation of Characters’ Names=====<br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration. <br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. In Chinese, “任真” and “认真” are homonyms，like the English homonyms. Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. He translated the pun in English into the pun in Chinese. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English. It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience of the drama will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. <br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.<br /> <br /> Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. When the audience heard of “梁勉仁”, they would realize that Algernon was a double-faced person at once. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, they expressed the same meaning that the person who named like that was double-faced, so the function of the original and the target language are the same. We guess that if Wilde writes this play in Chinese, he may use the same expression as Yu Guangzhong. Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality. <br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning of the source language.<br /> <br /> =====Translation of Characters’ Dialogues=====<br /> Allusions refer to the stories or words and sentences in ancient books quoted in poems; idioms refer to the fixed and customary expressions in a language, including proverbs, slang, catchphrase, lexical phrase, habitual collocation, restricted collocation, and etc. “There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.<br /> <br /> ======Alliteration======<br /> &quot;Many English allusions and idioms are used in Wilde’s plays&quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.<br /> <br /> (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just in order to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” in this dialogue actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.It is hard to translate alliteration in the target language. In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. In this example, he employed rhetorical devices in Chinese to replace alliteration. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”<br /> .<br /> (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The form of the sentence has changed, while the meaning remained. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence”<br /> <br /> ======Paradox======<br /> (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor <br /> husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)<br /> 巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)<br /> Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ manners and thoughts and the bourgeois society of his time, Victorian era.In the above example, Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while Lady. Bracknell says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox. After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.<br /> <br /> (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?<br /> CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for <br /> publication. (Wilde, 2009)<br /> 亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?<br /> 西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)<br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot;(Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text.<br /> <br /> ======Antithesis======<br /> <br /> (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)<br /> 亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)<br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul. <br /> <br /> (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)<br /> 劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)<br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married. In order to persuade him, she compared the two reasons of not getting married. &quot;The former is understandable, while the latter is incomprehensible&quot;(Wen Tong, 2012). In example 6, Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.<br /> <br /> ====Suggestions on Translation from Yu Guangzhong’s Version====<br /> Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works. <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why The Importance of Being Earnest becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original. <br /> <br /> The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs. For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers.<br /> In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice.<br /> <br /> ===Conclusion===<br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies. One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.<br /> <br /> ===References===<br /> Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.<br /> <br /> Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.<br /> <br /> Eugene A. Nida &amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.<br /> <br /> Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. 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(2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.<br /> <br /> Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.<br /> <br /> Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.<br /> <br /> Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.<br /> <br /> Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> =Applicaton of Translation Theories=<br /> ==Study of Application of Interpretive Theory in Interpretation 韩宛真 Han Wanzhen 202020080603== <br /> <br /> ===Abstract===<br /> With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. <br /> <br /> With the development of economic globalization,exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand.The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice. Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:58, 16 December 2020 (UTC)<br /> <br /> ===Key words===<br /> interpretive theory; interpretation,; translation strategies<br /> <br /> ===题目===<br /> 释意理论指导下的口译<br /> <br /> ===摘要===<br /> 随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。<br /> <br /> ===关键词===<br /> 释意理论；口译；翻译策略<br /> <br /> ===1.Introduction===<br /> In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.<br /> <br /> ===1.1 Introduction of Interpretive Theory===<br /> The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. <br /> <br /> The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)<br /> <br /> The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &quot;meaning&quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.(Kong Shaohui 2009, 127)<br /> <br /> Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &quot;implied meaning&quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. <br /> <br /> Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.<br /> <br /> The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can<br /> understand:The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &quot;thought that has not been expressed in words&quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.<br /> <br /> The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &quot;de-verbalization&quot;. Adding the process of breaking away from the language<br /> shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.<br /> <br /> The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.<br /> In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)<br /> <br /> ===1.2 Introduction of Interpretation===<br /> Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.<br /> Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.<br /> <br /> There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &quot;lightning thinking&quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &quot;simultaneous interpretation&quot; is almost impossible). (Ouyang Changyi 2010)<br /> <br /> Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &quot;simultaneous interpretation is a half-expert in any field.&quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)<br /> <br /> ===2. Literary Review===<br /> No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.<br /> <br /> ===2.1 The Research on Interpretive Theory===<br /> Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.<br /> <br /> The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &quot;interpretive&quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. <br /> <br /> At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. <br /> <br /> Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.<br /> <br /> It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.<br /> <br /> ===2.2 The Research on Interpretation under the Guide of Interpretive Theory===<br /> Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. <br /> <br /> With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.<br /> <br /> First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &quot;One Belt One Road&quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &quot;Black Technology&quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.<br /> <br /> On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.<br /> The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.<br /> <br /> ===3.Translation Strategies based on Interpretive Theory===<br /> Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.<br /> Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> ===3.1 Free Translation===<br /> The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。<br /> Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.<br /> &quot;而立之年&quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.<br /> 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。<br /> Translation: FOCAC is a valuable asset for China and Africa.<br /> &quot;金字招牌&quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.<br /> <br /> ===3.2 Addition of Message===<br /> Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。<br /> Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.<br /> In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.<br /> 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。<br /> Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.<br /> From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.<br /> <br /> ===3.3 Positive and Negative Translation===<br /> <br /> As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:<br /> 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。<br /> Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.<br /> The sentences in the source text are all expressed by the negative &quot;cannot&quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.<br /> 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。<br /> Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.<br /> The source text is a negative sentence containing the negative “cannot&quot; when translated into English. The translator is telling the truth, the translation is &quot;at least&quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.<br /> <br /> ===Conclusion===<br /> In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.<br /> <br /> The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.<br /> The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)<br /> <br /> The interpretive theory is the hypothesis of &quot;beyond the shell of the source language&quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &quot;out of&quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)<br /> <br /> In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &quot;departure from the source language&quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&quot;(Lederer 2001, 45-50)<br /> <br /> ===References===<br /> *Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &quot;Interpretive theory.&quot;: 1. <br /> <br /> *Dougherty, Ray C. (1969). &quot;An interpretive theory of pronominal reference.&quot; Foundations of Language: 488-519.<br /> <br /> *Gong Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.<br /> <br /> *Jackendoff, Ray S. (1969). &quot;An interpretive theory of negation.&quot; Foundations of language: 218-241.<br /> <br /> *Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.<br /> <br /> *Lederer Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.<br /> <br /> *Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.<br /> <br /> * Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.<br /> <br /> * Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]<br /> <br /> * Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.<br /> <br /> *Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.<br /> <br /> *Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.<br /> <br /> ='''Theory and Practise'''=<br /> <br /> <br /> ==The Development of Translation in Chinese Buddhist Scriptures 陈佳欣 Chen Jiaxin==<br /> <br /> ===Abstract===<br /> The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.<br /> <br /> ===Keywords ===<br /> Buddhist scriptures, Translation, Literal translation, Free translation<br /> <br /> ===摘要===<br /> 佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。<br /> <br /> ===关键词===<br /> 佛经，翻译，直译，意译<br /> <br /> ===Introduction===<br /> Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time. About the first century AD Buddhism entered China along trade routes from Central Asia. Thus, the translation of Buddhist scriptures came into being. Buddhism was widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.<br /> <br /> During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the form similarity and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. “The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation” (Sun Shanshan 2014, 174).<br /> <br /> In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three period. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposed that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposed to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang held that translation “must be truthful and intelligible to the populace”.<br /> <br /> === The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===<br /> The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.<br /> <br /> ==== An Shigao ====<br /> An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He totally translated 35 Buddhist Scriptures, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).<br /> <br /> ==== Zhi Chen ====<br /> Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. <br /> <br /> ==== Zhi Qian ====<br /> Zhi Qian, also known as Zhi Yue, is a Buddhist scripture translator during the Three Kingdoms period. He is the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignore the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. <br /> <br /> (2)The mainstream translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures. On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore then can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.<br /> <br /> (3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.<br /> <br /> === the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===<br /> The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.<br /> <br /> ====Shi Daoan ====<br /> Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he is also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. <br /> <br /> “‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&quot;Three Difficulties in Translation&quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.<br /> <br /> The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.<br /> <br /> ==== Kumarajiva ====<br /> Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &quot; the first class master of translation&quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He is one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translates 39 volumes. He is proficient in both Chinese and Sanskrit languages, and advocates that as long as the translation does not violate the original meaning, there is no need to follow the original form. “Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &quot;geyi&quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992, 186). He argued that “geyi” is the culprit of the deformation of India Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25). <br /> <br /> Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness. Another remarkable achievement is his contribution to the translation workshop. After he arrived Chang'an, he began to organize translation workshops. Under his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).<br /> <br /> (2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads）are usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China，translators can take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there are more Sanskrit texts, they have more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.<br /> <br /> (3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.<br /> <br /> (4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).<br /> <br /> === Tang Dynasty ===<br /> The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously. In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age is Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.<br /> <br /> ==== Xuang Zang ====<br /> Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &quot; Sanzang Rabbi.&quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses, the number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).<br /> <br /> In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &quot;Doroni&quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &quot;bhaga&quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &quot;jumbu tree&quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &quot;Aunt Bodhi&quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &quot;prajna&quot; respect, &quot;wisdom&quot; is light and shallow. “The word &quot;Untranslatable&quot; here does not mean not translating, but rather &quot;not intended to translate&quot;, using transliteration”( Jian Xue 2018, 28).<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translators are mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also has a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who are proficient in Sanskrit has gradually increased, and the translation work does not need to turn to foreign monks.<br /> <br /> (2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation programs possible.<br /> <br /> (3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty is more all-sided in organization. “According to records, The translation workshop of the Tang Dynasty has as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them are rabbis appointed by the court.<br /> <br /> (4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.<br /> <br /> (5) The translation scripts are more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believes that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.<br /> <br /> === The Influence of the Translation of Buddhist Scriptures ===<br /> The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> The influence of Buddhist scripture translation on Chinese is mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.<br /> <br /> “In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&quot;, &quot;Sutra” etc; some are words that we don’t realize, such as &quot;memory&quot;, &quot;world&quot;, &quot;now&quot;, &quot;causality&quot;, &quot;attachment&quot;, &quot;emptiness&quot;, &quot;reality&quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).<br /> <br /> The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to be the main motive.<br /> <br /> In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.<br /> <br /> === Conclusion ===<br /> The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.<br /> <br /> The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.<br /> The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation<br /> <br /> === References ===<br /> Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223<br /> <br /> Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308<br /> <br /> Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.<br /> <br /> Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University <br /> <br /> Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.<br /> <br /> Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.<br /> <br /> Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. <br /> <br /> Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press<br /> <br /> Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &quot;Five Losses of Source Texts and Three Difficulties in Translation&quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.<br /> <br /> WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.<br /> <br /> Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.<br /> <br /> Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.<br /> <br /> He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.<br /> <br /> Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.<br /> <br /> Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.<br /> <br /> Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.<br /> <br /> ==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts'' 成于思 Cheng Yusi 202020080598 ==<br /> <br /> ==='''Abstract'''===<br /> André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the paper is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the paper will make a comparison of these two books to deepen readers' understanding of them.<br /> <br /> ===Key words===<br /> André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative Study of Chinese and Western Translation Principles'', “cultural turn”, John Dryden, translation principles<br /> <br /> ===题目===<br /> 《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析<br /> <br /> ===摘要===<br /> 安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。<br /> <br /> ===关键词===<br /> 安德烈·勒菲弗尔,《翻译，历史和文化论集》，刘宓庆，《中西翻译思想对比研究》，文化转向，约翰·德莱登，翻译原则<br /> <br /> ===1.Introduction===<br /> This paper presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, this paper is intended to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This paper will be divided into three parts.<br /> <br /> In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden compares a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014). Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.<br /> <br /> In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72). Finally, the author will show some scholars’ appraisals of this book.<br /> <br /> In part three, it intends to give a brief comparison of these two books in contents and forms.<br /> <br /> All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.<br /> <br /> ===2. Analysis of ''Translation, History and Culture: A Sourcebook''===<br /> <br /> ''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&quot;(Munday 2016,199). As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &quot;cultural turn&quot; of translation proposed by Translation Studies. <br /> <br /> In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &quot;a rewriting of an original text&quot;. Here, they explained that &quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&quot; (Lefevre 2003, xi). According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. <br /> <br /> In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii). <br /> <br /> Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &quot;cultural turn&quot;. The &quot;cultural turn&quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &quot;cultural turn&quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)<br /> <br /> If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &quot;cultural turn&quot;, Translation, History and Culture: A Sourcebook, with abundant case studies, is proved to be a good illustration of their thoughts. <br /> <br /> The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)<br /> <br /> I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. <br /> <br /> I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&quot;. (Lefevere 2003, 47). <br /> <br /> In this part, I will analyze John Dryden's three types of translation and his comparison of &quot;author and translator&quot; to &quot;master and slave&quot; through the excerpts collected in Translation, History and Culture: A Sourcebook. (Lefevere 2003, 24;102-105).<br /> <br /> Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2). The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &quot;author and translator&quot; to &quot;master and slave&quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii). Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.<br /> <br /> Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102).<br /> <br /> In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). <br /> <br /> Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating the poem in such a way is like &quot;dancing on ropes with fettered legs&quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103).<br /> <br /> Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&quot;.(Lefevere 2003, 103). <br /> <br /> As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103).<br /> <br /> Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. &quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&quot;.(Lefevere 2003, 104).<br /> <br /> It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &quot;he may stretch his chain to such a latitude&quot;.(Lefevere 2003, 105). In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. <br /> <br /> Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019).<br /> <br /> However, in Chapter Two, in &quot;Dedication&quot; to his translation of the Aeneid, Dryden argued that &quot;We are bound to our author's sense, though with the latitudes already mentioned&quot;.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. &quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&quot; (Lefevere 2003, 24). <br /> <br /> Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies. (Niu Yunping, 2014). <br /> <br /> A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &quot;classical writers&quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014).<br /> <br /> Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73). <br /> <br /> About the value of this book, Translation, History and Culture: A Sourcebook is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii).<br /> <br /> ===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===<br /> <br /> In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &quot;Sixiang&quot; (&quot;thought&quot; in Chinese) refers to &quot;principle&quot; in the West in this book. (Liu Miqing 2005, 2). <br /> <br /> In the FAQ passage, the author explained why he wrote this book. &quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&quot;(Liu Miqing 2005, i). It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. <br /> <br /> Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)<br /> <br /> The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33). <br /> <br /> He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43).<br /> <br /> The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39).<br /> <br /> Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150).<br /> <br /> Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &quot;emphasis on meaning&quot; and establish a new concept of &quot;emphasis on the meaning in communication&quot; (Liu Miqing 2005,179). <br /> <br /> The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288).<br /> <br /> However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288).<br /> <br /> Finally, Liu points out that western translation theory is &quot;technology-oriented&quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293).<br /> <br /> The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &quot;translation and language game&quot;, Liu puts forward that &quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402).<br /> <br /> Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i). This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44).<br /> <br /> Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflects the integration of religion and politics in foreign countries. (Liu Miqing 2005,44). For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987).<br /> <br /> Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &quot;all is vanity&quot;, &quot;being detached from worldly affairs&quot; and &quot;obedience&quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987). <br /> <br /> In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still touched by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46). <br /> <br /> As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but cleared the way to economic growth as well. Meanwhile, integrated translation paved the way for European integration. (Liu Miqing 2005, 101). <br /> <br /> The second characteristic of the tradition of Chinese translation is &quot;regulation to perfection&quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51). <br /> <br /> The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101). Moreover, Western translation principles give priority to &quot;Communicative Translation&quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104). <br /> <br /> The third characteristic is &quot;the focus on meaning as well as aesthesis&quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52).<br /> <br /> Wang Guowei pointed out that the word &quot;Nao&quot; in the verse &quot;Hong Xing Zhi Tou Chun Yi Nao&quot; conveys the Jingjie of the whole poem. (Wang Guowei 2017,15). Therefore, if one attempts to translate the poem, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility. It expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104).<br /> <br /> Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006). <br /> <br /> Lu Wei and Li Defeng shed light on the topic &quot;translation theories with Chinese characteristics&quot; and argued that Liu Miqing's A Comparative Study of Chinese and Western Translation Principles provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010).<br /> <br /> ===4. Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===<br /> <br /> ===4.1 From the aspect of the content===<br /> Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. Translation History and Culture: A Sourcebook concentrates on Western translation principles before contemporary translation studies. While A Comparative study of Chinese and Western Translation Principles analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. <br /> <br /> Meanwhile, they boast their distinctive writing style. In Translation History and Culture: A Sourcebook, Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracted other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)<br /> <br /> ===4.2 From the aspect of the arrangement===<br /> Both of these two books are arranged in theme, rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. The longer essays are collected in the last chapter. Liu arranges his book differently.<br /> <br /> Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', including the characteristics, origins, schools and limitations of Chinese and western translation, Liu not only quotes other’s statement, he applies many tables to demonstrate his thoughts, which helps the readers better understand translation principles.<br /> <br /> ===Conclusion===<br /> In conclusion, the paper is intended to help readers to understand these two books in depth. After a brief introduction of these two books, it analyzes John Dryden’s three types of translation and his comparison of translator to slave and figures out the reason for the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper made a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learns translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.<br /> <br /> ===References===<br /> André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp; Francis e-library.<br /> <br /> André Lefevere &amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;New York: Pinter Publishers.<br /> <br /> Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.<br /> <br /> Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.<br /> <br /> Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp; Francis Group.<br /> <br /> Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp; Publishing Corporation中国对外翻译出版公司.<br /> <br /> Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp; Technology Translators Journal 23(02):11-14+29.<br /> <br /> Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.<br /> <br /> Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.<br /> <br /> Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.<br /> <br /> Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> ==The development and future trend of translation Theory 张慧 Zhang Hui 202070080622 英语笔译==<br /> <br /> ===Abstract===<br /> This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.<br /> ===Key Words===<br /> Chinese and Western, translation theory, development, trend<br /> ===摘要===<br /> 本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。<br /> ===关键词===<br /> 中西方，翻译理论，发展，趋势<br /> ===Introuction===<br /> Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.<br /> <br /> Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)<br /> ===The Four Periods of Development of Chinese Translation Theory===<br /> <br /> Ancient Translation Period<br /> <br /> The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）<br /> <br /> Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &quot;seeking the truth&quot; and &quot;using the vulgar&quot; in the translation process. He also established the principle of &quot;five not to turn,&quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）（quotation missing）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> Translation of the Late Qing Dynasty and Early Republic of China<br /> <br /> A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）<br /> <br /> Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）<br /> <br /> Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）<br /> <br /> His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）（paragraph too long）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.<br /> <br /> Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: <br /> <br /> (1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.<br /> <br /> Translation Theory in the Republic of China<br /> <br /> Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &quot;shenyun translation&quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）<br /> <br /> Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）<br /> <br /> After the Founding of the People’s Republic of China<br /> <br /> The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）<br /> <br /> Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）<br /> ===Prospects for the Development of Contemporary Chinese Translation Theory===<br /> <br /> Emphasis on the study of basic translation theory <br /> <br /> Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> “Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). <br /> <br /> In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). <br /> <br /> Innovation of ontology<br /> <br /> Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) <br /> <br /> Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> ===The Historical Development of Western Translation Theory and Its Classification===<br /> <br /> Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. <br /> <br /> The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)<br /> <br /> <br /> The School of Thought and the Main Characteristics of Western Translation Theory<br /> <br /> Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.<br /> <br /> Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. <br /> <br /> The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. <br /> <br /> These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. <br /> <br /> Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. <br /> <br /> Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. <br /> <br /> The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)<br /> <br /> The Response of Western Translation Theory in China’s Translation Industry<br /> <br /> As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. <br /> <br /> Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)<br /> <br /> ===Analysis of Theoretical Research Status===<br /> <br /> Descriptive Analysis of Translation Theory Research<br /> <br /> First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)<br /> <br /> Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.<br /> Third, researchers and institutions. <br /> <br /> The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)<br /> Systematic Analysis of Translation Theory Research<br /> <br /> First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.<br /> <br /> Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.<br /> <br /> Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.<br /> <br /> Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. <br /> <br /> Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. <br /> <br /> This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.<br /> <br /> Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).<br /> <br /> The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. <br /> <br /> The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.<br /> <br /> ===Trends in Translation Theory Research===<br /> <br /> Interdisciplinary cooperation and integration<br /> <br /> Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. <br /> <br /> In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）<br /> <br /> Return to culture development<br /> <br /> The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.<br /> <br /> Seeking Common Ground while Surviving Differences in Cultural Translation<br /> <br /> Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）<br /> <br /> ===Conclusion===<br /> <br /> From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.<br /> <br /> ===References===<br /> <br /> [1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.<br /> <br /> [2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.<br /> <br /> [3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.<br /> <br /> [4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.<br /> <br /> [5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.<br /> <br /> [6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.<br /> <br /> [7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.<br /> <br /> [8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.<br /> <br /> [9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.<br /> <br /> [10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.<br /> <br /> [11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.<br /> <br /> ==A Cultural Critique of Foreignization and Domestication 吴子佳 Wu Zijia==<br /> <br /> ==='''Abstract'''===<br /> Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.<br /> <br /> ==='''Key words'''===<br /> <br /> Domestication foreignization cultural-overloaded words cross-cultural communication.<br /> <br /> ==='''摘要'''===<br /> <br /> 归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。<br /> <br /> ==='''关键词'''===<br /> <br /> 归化，异化，文化负载词，跨文化交流<br /> <br /> <br /> ===''' Introduction of Domestication and Foreignization '''===<br /> <br /> Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）<br /> <br /> On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.<br /> Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）<br /> <br /> For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku）<br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞” cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku）<br /> <br /> ==='''Analysis on Culture Differences in Translation'''===<br /> <br /> Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. <br /> <br /> Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）<br /> <br /> So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &quot;dog&quot; is mostly unpleasant, so the metaphor of &quot;dog&quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）<br /> <br /> On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &quot;dog&quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）<br /> <br /> Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &quot;rice&quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &quot;bread and butter,&quot; &quot;big potato&quot;,”hot potato” and &quot;couch potato.&quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）<br /> <br /> ===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===<br /> <br /> 1. Practice of foreignization and domestication in tourism culture<br /> <br /> The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)<br /> <br /> Example 1:<br /> <br /> 路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字<br /> To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))<br /> Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> Example 2<br /> <br /> 云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。<br /> Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.<br /> Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> <br /> Example 3<br /> <br /> 花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)<br /> 孤山: Gushan (Solitary Hill) <br /> 湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。<br /> Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”<br /> Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> <br /> Example 4 <br /> <br /> Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> Example 5<br /> <br /> 她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。<br /> It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.<br /> The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> Example 6<br /> <br /> 四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。<br /> Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. <br /> By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> 2. Practice of Foreignization and Domestication in Food Culture<br /> <br /> With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）<br /> <br /> For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）<br /> <br /> Example 7<br /> <br /> 番茄牛腩(tomato and beef brisket)<br /> This translation consists of main ingredient and ingredient.<br /> 砂锅面(casserole noodles)<br /> This translation consists of utensils and ingredients.<br /> 淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)<br /> This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.<br /> 炒酸菜, 手抓饼(sauerkraut, shredded cake)<br /> This translation consists of the cooking method or eating method and ingredients.<br /> Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）<br /> <br /> Example 8<br /> <br /> 蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)<br /> This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.<br /> 霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)<br /> This translation is named after historical allusions.<br /> 驴打滚 (打糕) :Donkey roll (beating cake)<br /> This translation is named according to the production process metaphor. <br /> 佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).<br /> This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）<br /> <br /> Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.<br /> <br /> Example 9<br /> <br /> “叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &quot;Baked Chicken&quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)<br /> <br /> <br /> If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)<br /> <br /> Example 10<br /> <br /> Some foods are usually translated in the form of &quot;Hanyu Pinyin + English notes&quot; in order to retain certain characteristics.<br /> For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）<br /> <br /> For example, &quot;豆腐&quot; translates as &quot;Toufu&quot;; &quot;馄饨&quot; translates as &quot;Wonton&quot;. The translation of四一丸子:&quot;Four Happy Meatballs&quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）<br /> <br /> 3. Practice of Foreignization and Domestication in Diplomacy<br /> <br /> Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）<br /> <br /> Example 11<br /> <br /> 我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。<br /> What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.<br /> In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）<br /> <br /> Example 12<br /> <br /> “投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）<br /> To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.<br /> This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）<br /> <br /> Example 13<br /> <br /> 耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）<br /> &quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.<br /> This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）<br /> <br /> Example 14<br /> <br /> “滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）<br /> <br /> &quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.<br /> This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）<br /> <br /> Example 15<br /> <br /> 我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）<br /> <br /> If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&quot;稻草、吸管&quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）<br /> <br /> ===''' Conclusion '''===<br /> <br /> Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.<br /> <br /> ===''' References '''===<br /> <br /> * Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.<br /> * Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.<br /> * Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.<br /> * Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.<br /> * Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.<br /> * Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.<br /> * Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.<br /> * Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.<br /> <br /> ='''Contemporary Translation Studies'''=<br /> <br /> <br /> ==A Study On the Influence of Linguistics on the Construction of Translatology 孔祥慧 Kong Xianghui 202020080608==<br /> &lt;center&gt;孔祥慧 Kong Xianghui &lt;/center&gt;<br /> ==='''Abstract'''===<br /> Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .<br /> <br /> ==='''Key words'''===<br /> Translatology;Linguistic;Discipline Construction<br /> <br /> ===摘要===<br /> 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。<br /> <br /> ===关键词===<br /> 翻译学；语言学；学科构建<br /> <br /> ==='''1.Introduction'''===<br /> Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）<br /> <br /> For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）<br /> <br /> This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.<br /> <br /> ==='''2.Literature review '''===<br /> This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. <br /> <br /> '''2.1Studies on the construction of translatology aboard'''<br /> <br /> In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.<br /> <br /> Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.<br /> <br /> J.C. Catford in his book ''A Linguistic Theory of Translation'' (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.<br /> <br /> Holmes published ''The Name and Nature of Translation Studies'' at The Third International Conference on Applied Linguistics in 1972, which was &quot;widely regarded as the founding declaration of the discipline of translation studies&quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.<br /> <br /> In 1982, Wolfram Wilss published ''the Science of Translation: Problems and Methods'', clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.<br /> <br /> Newmark is also a representative figure in the field of translation. In his book ''Exploration of Translation'' (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.<br /> <br /> Hatim &amp; Mason, whose representative work is ''Discourse and the Translator'' (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.<br /> <br /> Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.<br /> Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published ''Translation and Conflict'': A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.<br /> <br /> '''2.2 Studies on the construction of translatology at home'''<br /> <br /> In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology in China made great progress.<br /> <br /> In 1951, Dong Qius, a famous Chinese translator, published his article ''On the Construction of Translation Theory''. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.<br /> <br /> In 1987, Tan Zaixi clearly put forward the view that &quot;translation studies are an independent subject&quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published ''On Approaches to Translation Studies''. In this paper, Tan mainly distinguished two concepts of &quot;translation&quot; and &quot;translatology&quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.<br /> <br /> In the thesis ''An Overview of Western Translation Theory'' (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.<br /> <br /> In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.<br /> <br /> At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.<br /> <br /> Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published ''Constructing The Linguistic Basis of Translation Studies'' (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.<br /> <br /> Yi Jing published his doctoral thesis ''On The Construction of Translation Studies'' (2009), which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis ''On The Construction of Translation Studies'' in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.<br /> <br /> In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in ''Translation View in Cognitive Linguistics'' proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.<br /> <br /> Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.<br /> <br /> From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.<br /> <br /> ==='''3.The Construction of Translatology '''===<br /> <br /> In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.<br /> <br /> '''3.1Translation and Translatology'''<br /> <br /> &quot;Translation&quot; and &quot;translatology&quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)<br /> <br /> In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &quot;translatology&quot; is used to refer to translation studies.&quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&quot;.（Liu Zhongde，1995）<br /> Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.<br /> <br /> '''3.2 Three Stages of Translatology'''<br /> <br /> Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.<br /> <br /> '''3.2.1 Early translation practice'''<br /> <br /> Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)<br /> <br /> '''3.2.2 The awareness of an academic discipline'''<br /> <br /> Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &quot;translation must become an independent discipline&quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.<br /> <br /> Such a group of people also appeared in modern China. Lin Yutang used the word &quot;translation studies&quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）<br /> <br /> '''3.2.3 The rapid development stage of translation studies'''<br /> <br /> Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018)<br /> Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.（Wikipedia）<br /> <br /> ==='''4.The Influence of Linguistics on the Construction of Translatology'''===<br /> <br /> For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.<br /> <br /> 4.1 Contributions of early linguists to translation<br /> <br /> As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.<br /> Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &quot;signifier&quot; and &quot;signified&quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）<br /> <br /> These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.<br /> <br /> 4.2 Translation studies based on linguistic theory<br /> <br /> In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.<br /> <br /> 4.2.1 The influence of Structuralist linguistics<br /> <br /> Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &quot;pure linguistic forms&quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.(Lvjun，2004)<br /> <br /> Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &quot;the science of translation&quot; and &quot;dynamic equivalence/Functional equivalence&quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &quot;six-level equivalence theory&quot; .(Yi Jing,2012)<br /> <br /> Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.（Zou Bin,Mu Lei,2020)<br /> <br /> 4.2.2 The influence of discourse linguistics<br /> <br /> For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002）<br /> Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics.<br /> The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）<br /> <br /> 4.2.3 The influence of contemporary linguistics<br /> <br /> As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）<br /> <br /> Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.(Liao Qiyi， 2000)<br /> <br /> 4.3 The experience of the construction of linguistics<br /> <br /> In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.<br /> <br /> 4.4.1 Discipline development<br /> <br /> Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.（Kong Xiangli，2009）<br /> The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.<br /> <br /> 4.4.2 Discipline structure<br /> <br /> Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.<br /> From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.（Yi Jing，2009）<br /> Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.<br /> <br /> 4.4.3 Development Trend of discipline<br /> <br /> Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.<br /> In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）<br /> <br /> ==='''5.Conclusion'''===<br /> Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.<br /> <br /> ==='''References'''===<br /> Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.<br /> <br /> Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.<br /> <br /> Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''<br /> <br /> Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.<br /> <br /> Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. ''当代语言学''[Modern Linguistic] 3-5.<br /> <br /> Fang Xiangtao,Lu Bixiao. (2019). 范祥涛,陆碧霄.认知翻译研究的观念和方法. [Concepts and Methods of Cognitive Translation Studies]. ''外语教学''[Foreign Language Education] 8-12.<br /> <br /> Huang Guowen. 黄国文. (2006). 关于翻译研究语言学探索的几个问题. [Questions about the Linguistic Exploration of Translation Studies]. ''外语艺术教育研究''[Educational Research on Foreign Languages &amp; Arts] 35-41.<br /> <br /> Kong Xiangli. 孔祥立. (2009). 中国翻译学学科建设论. [On the subject construction of Chinese Translation Studies]. 上海外国语大学[Shanghai International Studies University].<br /> <br /> Li Yan, Feng Huali. 李艳,冯华丽.(2020) 国内基于语料库的翻译研究二十年综述(1999—2018). [A review of 20 Years of Corpus-based Translation Studies in China(1999—2018)]. ''成都理工大学学报(社会科学版)'' [Journal of Chengdu University of Technology(Social Science) ]105-110.<br /> <br /> Liu Miqing. 刘宓庆. (1989). 西方翻译理论概评. [An Overview of Western Translation Theory]. ''中国翻译''[Chinese Translators Journal] 2-6.<br /> <br /> Liu Zhongde. 刘重德. (1998). 关于建立翻译学的一些看法. [Views on the Establishment of Translation Studies]. ''外国语(上海外国语大学学报)'' [Foreign Languages (Journal of Shanghai International Studies University)] 27-31+60.<br /> <br /> Lv Jun. 吕俊. (2004). 建构翻译学的语言学基础. [The Linguistic Basis of Translation studies]. ''外语学刊''[Foreign Language Research] 96-101.<br /> <br /> Liao Qiyi. 廖七一. (2000). 语料库与翻译研究[Corpus and Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 380-384.<br /> <br /> O Aiping. 欧爱萍.(2012). 浅谈语言学对翻译学科的影响. [A Brief Discussion on the influence of Linguistics on translation]. ''中外企业家''[Chinese and Foreign Entrepreneurs] 179-180.<br /> <br /> Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.<br /> <br /> Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.<br /> <br /> Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.<br /> <br /> Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.<br /> <br /> Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.<br /> <br /> Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].<br /> <br /> Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.<br /> <br /> Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.<br /> <br /> Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.<br /> <br /> Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.<br /> <br /> Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.<br /> <br /> ==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658==<br /> <br /> ==='''Abstract'''===<br /> <br /> With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.<br /> <br /> ==='''Key words'''===<br /> <br /> Translation Studies, translation education, translation talents<br /> <br /> ==='''题目'''===<br /> <br /> 对中国翻译学学习的反思<br /> <br /> ==='''摘要'''===<br /> <br /> 随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析学习翻译学科目前存在的问题，并提出相关的建议。 <br /> <br /> ==='''关键词'''=== <br /> <br /> 翻译学，翻译教育，翻译人才<br /> <br /> <br /> ==='''1. Introduction'''===<br /> <br /> 1.1. The Connotation of Translation Studies<br /> <br /> Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &quot;''The Name and Nature of Translation Studies''&quot;, is a basic statement of translation studies: it calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, including comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.<br /> Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation Studies can examine the practice and background of translating professional texts (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. <br /> <br /> Learning these contents enables students to apply their theoretical understanding to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually include the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills needed to solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.<br /> <br /> 1.2. The Significance of Translation Study<br /> With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. At the same time, as today's multicultural and multilingual society requires effective, efficient and understanding communication between languages and cultures, translation skills have become more and more important and desirable. <br /> <br /> As a science, Translation Studies has always had its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can understand the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. This is also the necessity for translators to learn Translation Studies.<br /> <br /> ==='''2. The Development Process of Translation Studies in China'''===<br /> <br /> Translation activities has appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, the flourishing period of Translation Studies.<br /> <br /> 2.1. The Exploration Period of Translation Studies <br /> <br /> In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, Almost no. What we have are some translation regulations and fragments of experience for temporary reference.&quot; He clearly called for the establishment of &quot;a complete translation theory system&quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared in history.<br /> <br /> However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have become increasingly single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc. At that time, because a large number of people who understand foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to strengthen foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under foreign language and literature, but the distinction between translation teaching and language teaching has gradually become clear.<br /> <br /> 2.2. The Development Period of Translation Studies<br /> <br /> At the beginning of this period, it was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. At this stage, some masters and doctors in translation studies joined the construction team translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation desperately. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of &quot;''China Translator''&quot; in 2004 come to congratulate. Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.(Huang Zhongqian, Zhang Xiao 2020) Translation research ideas, methods, space and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.<br /> <br /> 2.3. The Flourishing Period of Translation Studies<br /> <br /> In 2011, the Ministry of Education adjusted the discipline catalog and listed &quot;Translation Studies&quot; as a second-level subject under the first-level discipline of &quot;Foreign Languages and Literature&quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction. In the flourishing period, the construction of translation disciplines and the development of translation majors in China have shown a new look. Many levels have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training. There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.<br /> <br /> ==='''3. Challenges of Learning Translation Studies in China'''===<br /> <br /> The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. China's translation discipline has now entered a new stage, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.<br /> <br /> 3.1. Translation Education<br /> <br /> With the establishment of the status of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the training of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better. However, China's translation education started and developed after the reform and opening up, is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, and systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.<br /> <br /> 3.1.1. Orientation of the Cultivation of Translation Talents<br /> <br /> At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to the unclear concept of the cultivation of translation talents. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation professional teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market. (Zhong Weihe 2019)Due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.<br /> <br /> 3.1.2. Faculty Resources<br /> <br /> The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. The problem of translation teachers has always been a bottleneck problem that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data show that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &quot;''National Standard of Part-time Teacher in MTI Education'' &quot;. (Zhong Weihe 2019) In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.<br /> <br /> 3.1.3. Teaching method<br /> <br /> Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2020) For example, this kind of teaching method that ignores student autonomy is entirely a teacher-centered teaching model, which will place too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.<br /> <br /> 3.1.4 Translation Teaching Research<br /> <br /> The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is rare. besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play.(Bo Zhenjie, Li Heqing 2011) However, combining actual translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but not deep into the actual situation.<br /> <br /> 3.2. Students<br /> <br /> The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.<br /> <br /> 3.2.1. Low level of commitment to translation learning<br /> <br /> Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between the word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.<br /> <br /> 3.2.2. Insufficient background knowledge <br /> <br /> Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not grasp sufficient background information. With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. (Xie Zhentian, 2015) Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.<br /> <br /> 3.2.3. Neglect of theoretical knowledge<br /> <br /> At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）<br /> <br /> ==='''4. Suggestions for the Learning of Translation Studies'''===<br /> <br /> In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved according to the development of times. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote the development of Translation Studies in China.<br /> <br /> 4.1. Translation Education<br /> <br /> 4.1.1. Improve Teaching Mode<br /> <br /> The teaching model is an important basic guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation or current affairs. Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to make something new. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. The objective teaching method is a teaching mode that can be introduced in translation teaching. This type of mode attaches great importance to the construction of learning environment and the value of teachers' guidance to students. (Ou Yonghua 2019) This is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.<br /> <br /> 4.1.2. Strengthen Faculty Force<br /> <br /> Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and first-line translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)<br /> <br /> 4.1.3. Broaden the academic vision of translation<br /> <br /> Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which is a comprehensive academic research of the discipline. Carry out the provision of roadmap (Lan Hongjun, 2018); the second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary and integration, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)<br /> <br /> 4.2. Students <br /> <br /> The quality of translation talents plays a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.<br /> <br /> 4.2.1. Expanding knowledge<br /> <br /> Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future, in addition to having a solid foundation in language ability, they should also take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills. A very good way to expand their knowledge is to improve their search ability. Search ability, specifically, refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students is urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)<br /> <br /> 4.2.2. Emphasize theory and practice more<br /> <br /> Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics, not only the translation skills and theories，but also practice more. Theories that are out of practice cannot keep up with the development of the times. Students must spend enough time in practicing. They can go to the front line of production or go deep into all aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.<br /> <br /> ==='''5.Conclusion'''===<br /> <br /> This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the concept of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Those engaged in translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and so on. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.<br /> <br /> President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies were not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, draw on the latest foreign translation theories, combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. (Zhong Weihe, Zhao Tianyuan 2020) The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.<br /> <br /> ==='''References'''===<br /> Holmes, James S. (1972). 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[China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.<br /> <br /> Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.<br /> <br /> ==The influence of translator's cultural identity on translation 周玉娟 Zhou Yujuan 202020080674 亚非语言文学波斯语方向 ==<br /> ===Abstract===<br /> Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.<br /> <br /> ===Keywords===<br /> translation; translator; cultural identity; Shakespeare's plays<br /> <br /> ===摘要===<br /> 梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。<br /> <br /> ===关键词===<br /> 翻译；译者；文化身份；莎士比亚剧<br /> <br /> ===Introduction===<br /> Translating a work is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important active role in both translating the content and interpreting it, and the translator is the first person who is in direct contact with the original text.<br /> <br /> Benjamin, the famous German literary critic, once said : &quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &quot;cultural identity&quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)<br /> <br /> There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.<br /> <br /> === Introduction to the identity of the translator===<br /> Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.<br /> <br /> Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.<br /> <br /> &quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&quot; (Xi Yongji. 2007:245)<br /> <br /> ====Zhu Shenghao's Cultural Identity====<br /> Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.<br /> <br /> In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.<br /> <br /> Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on naturalization strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.<br /> <br /> ====Liang Shiqiu's Cultural Identity====<br /> Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.<br /> <br /> However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &quot;All civilization is the original creation of a very few geniuses&quot;, &quot;literature and art are the original creation of a few geniuses&quot;, &quot;there is no literature and art for the majority, and literature and art are not for the majority &quot;. (Liang Shiqiu: R.O.C. 23) &quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&quot; <br /> As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12) <br /> <br /> We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &quot;genius literature&quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese literary world. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.<br /> <br /> ====Foreignization and domestication Strategies====<br /> According to Venuti, domestication is &quot;bringing the original author into the desired language and culture of the translation&quot;, while dissimilation is &quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&quot; (Venuti, 1995:20). (Venuti, 1995:20)<br /> <br /> Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.<br /> <br /> The method of Foreignization is: &quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.<br /> <br /> ===The cultural identity of translators in translation===<br /> First, the translator is the second pair of eyes of the reader. &quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.<br /> <br /> Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.<br /> <br /> ====In terms of the original intention of translation====<br /> The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &quot;interest&quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao himself said, &quot;I love Shakespeare's plays so much and so only that I have tried to read the whole text at least ten times from the beginning to the end. ......&quot; Zhu's love for Shakespeare is so strong that &quot;He was so passionate about Shakespeare that he would not stop reading Shakespeare, not eating it. <br /> <br /> In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.<br /> <br /> Liang Shiqiu believes that there is a distinction between elegant and vulgar literature, genius is to appreciate literature, the general public to read are popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &quot;the highest art only a few people can understand ......, literature and art is not the majority.&quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &quot;literature is created by genius&quot;.<br /> <br /> When he studied at Harvard University, he took the course &quot;Literary Criticism after the Sixteenth Century&quot; by the American neoclassicist Byrd Byrd, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &quot;preserve the most authentic things&quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &quot;hard translations&quot; and &quot;bent translations&quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)<br /> <br /> ====In terms of the content of the translation (taking the translation of Shakespeare as an example)====<br /> Zhu Shenghao stated at the beginning of his translation: &quot;My aim in translating this book is, first, to maintain the charm of the original work to the greatest extent possible, and then to consider the second point if it is not feasible, that is, to convey faithfully the meaning and feelings of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao's translation of Sha plays more attention to the performance function of drama.<br /> <br /> For example: ( the translation of Zhu Shenghao)<br /> EGEUS: Stand forth，Demetrius． My noble lord，<br /> 伊吉斯:走上前来，狄米特律斯。殿下，这个人，<br /> This man hath my consent to marry her．<br /> 是我答应把我女儿嫁给他的<br /> Stand forth，Lysander．<br /> 走上前来，拉山德。<br /> And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）<br /> 殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）<br /> <br /> In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &quot;purified&quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. <br /> For example, his translation. <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，<br /> Or I will shake thee from me like a serpent． (Ⅲ． ⅱ) (莎士比亚.2011:110)<br /> <br /> 拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!<br /> 否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。<br /> <br /> Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &quot;faithfulness and fidelity&quot;. The style of &quot;faith&quot; and &quot;faithfulness&quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.<br /> <br /> First: Stay true to the original text and try not to delete or subtract from it.<br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ． ⅱ) (莎士比亚.2001:110)<br /> <br /> Translation of Liang Shiqiu:<br /> 赖， 走开，你这个猫，你这个缠人的东西! 下流的东西，松手，<br /> 否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。<br /> <br /> HELENA She was a vixen when she went toschool: <br /> And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)<br /> <br /> Translation of Liang Shiqiu:<br /> 海 上学时她就是个狐狸精。<br /> 她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。<br /> <br /> Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &quot;Shakespearean&quot;. &quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&quot;. (Liang Shiqiu. 1966) <br /> Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. <br /> For example, a fragment of Liang Shiqiu's translation of Hamlet.<br /> <br /> Queen. There is a willow grows aslant a brook,<br /> That shows his hoar leaves in the glassy stream;<br /> There with fantastic garlands did she come,<br /> Of crow-flowers, nettles, daisies, and long purples,<br /> That liberal shepherds give a grosser name.<br /> But our cold maids do dead man’s fingers call them:<br /> There, on the pendent boughs her coronet weeds<br /> Clambering to hang ,an envious sliver broke,<br /> When down her weedy trophies and herself<br /> Fell in the weeping brook. Her clothes spread wide;<br /> And, mermaid-like, awhile they bore her up;<br /> Which time she chanted snatches of old tunes; As one<br /> incapable of her own distress,<br /> Or like a creature native and indu’d<br /> Unto that element: but long it could not be<br /> Till that her garments ,heavy with her drink,<br /> Pull’d the poor wretch from her melodious lay<br /> To muddy death.<br /> （shakespeare, hamlet, act Ⅳ, scenceⅦ）<br /> <br /> The translation of Liang Shiqiu：<br /> 河边有一株斜长着的杨柳，白叶倒映<br /> 在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，<br /> 扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯<br /> 洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去<br /> 挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入<br /> 呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会<br /> 儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像<br /> 是水下生长的动物似的；但是这情形没有多久，她的衣服湿<br /> 透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的<br /> 死所去了。<br /> <br /> ===Conclusion===<br /> The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. <br /> <br /> For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. <br /> <br /> By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.<br /> <br /> ===References===<br /> Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．<br /> <br /> Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)<br /> <br /> Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary]. 台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.<br /> <br /> Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.<br /> <br /> Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128.. <br /> <br /> Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.<br /> <br /> Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.<br /> <br /> Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．<br /> <br /> Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．<br /> <br /> Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004<br /> <br /> Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.<br /> <br /> Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001<br /> <br /> Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．<br /> <br /> Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.<br /> <br /> ==Descriptive translation studies 曹润鑫 Cao Runxin==<br /> <br /> ===Abstract===<br /> The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.<br /> <br /> ===Key words===<br /> Descriptive translation studies; Translation studies<br /> <br /> ===摘要===<br /> 描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍<br /> <br /> ===关键字===<br /> 描述翻译学；翻译研究<br /> <br /> ===Introduction===<br /> Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &quot;faithfulness&quot; and &quot;equivalence&quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.<br /> <br /> Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &quot;cultural shift&quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &quot;faithful&quot; and &quot;reciprocal&quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.<br /> <br /> In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &quot;how translation should be&quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.<br /> <br /> ===Tuli and ''Descriptive translation''===<br /> The concept of &quot;descriptive translation&quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &quot;The Name and Reality of Translation Studies&quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.<br /> <br /> Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.<br /> <br /> In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&quot;. [3]<br /> <br /> According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &quot;(more) objective&quot; norms, while the latter are &quot;(more) subjective&quot; i.e. &quot;less objective&quot;. The concept of the This concept is very important in its theoretical system.<br /> <br /> He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]<br /> <br /> According to Tuli, &quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.<br /> Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &quot;translations&quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent. &quot;Exoticism&quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &quot;translation tone&quot; in the text. Due to the real existence of &quot;translation cavity&quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &quot;translation cavity&quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.<br /> <br /> Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &quot;credible&quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112<br /> <br /> According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.<br /> <br /> Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.<br /> <br /> In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &quot;meta-prescriptive&quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &quot;translation studies can never be merely descriptive&quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.<br /> <br /> === Hermanns and ''Translation in Systems''===<br /> The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.<br /> <br /> Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &quot;norm&quot; and Chesterman's &quot;norm&quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.<br /> <br /> The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &quot;reciprocity&quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &quot;norm&quot; and introduces the &quot;norm&quot; proposed by Tully and the &quot;norm&quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.<br /> <br /> Scholars who study descriptive translation have proposed that literature should be regarded as &quot;a complex and dynamic system&quot;, and that literary translation studies should &quot;adopt a descriptive, target-language-based, functional and systematic research approach&quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.<br /> <br /> ===Conclusion===<br /> Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.<br /> <br /> ===References===<br /> [1]李红满.论当代西方翻译研究范式的转变[J].外语与翻译, 2002 (2) .<br /> <br /> [2]张美芳.翻译学的目标与结构——霍姆斯的译学构想介评[J].中国翻译, 2000 (2) .<br /> <br /> [3]Toury, Gideon.Descriptive Translation Studies and Beyond[M].Shanghai:Shanghai Foreign Language Education Press, 2001.<br /> <br /> [4]林克难.翻译研究:从规范走向描写[J].中国翻译, 2001 (6) .<br /> <br /> [5]Vermeer, Hans J.A Skopos Theory of Translation[M].Heidellburg:TEXT-con, 1996.<br /> <br /> [6]Venuti.Lawrence.The Translator’s Invisibility[M].A History of Transla-tion.London&amp;New York:Routledge, 1995.<br /> <br /> [7]Snell-Homby, Mary.Translation Studies.AnIntegrated Approach[M].Re-vised ed.Amsterdam:John Benjamins, 1995.<br /> <br /> [8]Hemans, Theo, ed.The manipulation of Literature[M].London&amp;Sydney:Croom Helm, 1985.<br /> <br /> [9]韩子满, 刘芳.描述翻译研究的成就与不足[J].外语学刊, 2005 (3) .<br /> <br /> [10]谢天振.翻译研究新视野[M].青岛:青岛出版社, 2003.<br /> <br /> [11]张南峰.从梦想到现实——对翻译学科的东张西望[J].外国语, 1998 (3) .<br /> <br /> ==Translation Strategies== Sagara Seydou , Student No :201911080004, Major ;Translation Studies <br /> Translation Strategies <br /> Abstract <br /> Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.<br /> <br /> Key words: translation strategies and translational problems.<br /> <br /> This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;<br /> Introduction<br /> The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers define them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical significance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)<br /> <br /> Content<br /> Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classifications from different perspectives. For example, Lörscher’s (1991) classification is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classifications. It seems that clear-cut definitions of these terms might not work as well as prototype definitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)<br /> The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reflect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reflects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)<br /> <br /> The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp fiction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp; Munday,2004, p. 230)<br /> Having discussed the two prototype strategies, let us turn to the definitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few defining characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difficulty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).<br /> Problems, according to their scale, can be divided into global (or general) problems and local (or specific) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “specific activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle specific problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by specific techniques, which affect the translation result and the micro-units of the text, and are classified by comparison with the source text (Molina &amp; Hurtado Albir, 2002, p. 509).<br /> As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural filtering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.<br /> However, this is not consonant with the dictionary definitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is defined as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) defines translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will influence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identified the following text processing strategies: (a) problem identification, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal significant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can find out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280). Darwish (2008) identifies four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70).<br /> However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might influence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difficulty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.<br /> <br /> Conclusion<br /> In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.<br /> References<br /> Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp; J. Laffling(Eds.), Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 07:56, 17 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=History_of_Translation_Studies_10&diff=113483 2020-12-17T07:56:41Z

<p>Sagara Seydou 3: /* An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining */</p> <hr /> <div>这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> *Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> *Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]<br /> *Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].<br /> ='''Functional Equivalence'''=<br /> <br /> <br /> == On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==<br /> <br /> ===Abstract===<br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.<br /> <br /> ===key words===<br /> <br /> functional equivalence, formal equivalence, translation<br /> <br /> ===摘要===<br /> 翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。<br /> <br /> ===关键字===<br /> 功能对等，形式对等，翻译<br /> <br /> ===Introduction===<br /> <br /> As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. <br /> <br /> Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.<br /> <br /> ===Functional Equivalence===<br /> In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)<br /> <br /> Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). <br /> <br /> To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. <br /> Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.<br /> <br /> ===Formal equivalence===<br /> <br /> Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） <br /> <br /> Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.<br /> <br /> ===Relationship between functional equivalence and formal equivalence===<br /> In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.<br /> <br /> For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.<br /> <br /> Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.<br /> <br /> Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.<br /> <br /> Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.<br /> <br /> ===Application of functional equivalence and functional equivalence in translation===<br /> <br /> Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.<br /> <br /> ====Lexical equivalence====<br /> <br /> Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.<br /> <br /> Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. <br /> <br /> It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. <br /> “When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”<br /> In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.<br /> <br /> ====Syntax equivalence====<br /> <br /> Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: <br /> “Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”<br /> Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。<br /> <br /> We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.<br /> When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. <br /> There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:<br /> “You’re not a student,are you?”<br /> “Yes, I am.” <br /> Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.<br /> <br /> ====Texual equivalence====<br /> <br /> Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. <br /> <br /> Example: “祥子！”她往前凑了凑：“我有啦！” <br /> “有了什么？”他一时蒙住了。<br /> “这个！”她指了指肚子。“你打主意吧！”<br /> Translation: “Xiangzi,” she came closer. “I am in trouble!”<br /> “What trouble?” He was startled.<br /> “This!” She pointed her belly. “What was you going to do about it?”<br /> According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.<br /> <br /> In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner connotation it bears. <br /> Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. <br /> Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.<br /> <br /> The last element we should never ignore is cultural context given that there are great cultural differences between English and Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.<br /> Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.<br /> We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.<br /> <br /> ====Stylistic equivalence====<br /> <br /> Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.<br /> Example: 清明<br /> 杜牧<br /> 清明时节雨纷纷，路上行人欲断魂。<br /> 借问酒家何处有? 牧童遥指杏花村。<br /> Translation by Wu Juntao:<br /> The Pure Brightness Day<br /> By Du Mu<br /> It drizzles thick and fast on the Pure Brightness Day,<br /> I travel with my heart lost in dismay.<br /> “Is there a public house somewhere, cowboy?”<br /> He points at Apricot Village faraway.<br /> <br /> In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..<br /> Translation by Xu Yuanchong:<br /> The Mourning Day<br /> By Du Mu<br /> A drizzling rain falls like tear on the Mourning Day;<br /> The mourner’s heart is going to break on his way.<br /> Where can a wineshop be found to drown his sad hours?<br /> A cowherd points to a cot ’mid apricot flowers. <br /> <br /> In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.<br /> <br /> ===Conclusion===<br /> <br /> Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation. <br /> <br /> Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)<br /> <br /> ===References===<br /> <br /> Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.<br /> <br /> Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.<br /> <br /> Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．<br /> <br /> Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.<br /> <br /> Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.<br /> <br /> Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &quot;Faithfulness, Expressiveness and Elegance&quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.<br /> <br /> Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.<br /> <br /> Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.<br /> <br /> Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.<br /> <br /> Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.<br /> <br /> 尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．<br /> <br /> Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).<br /> <br /> UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．<br /> <br /> == My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==<br /> <br /> == Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==<br /> &lt;center&gt;肖茜 Xiao Xi No.202020080654&lt;/center&gt;<br /> ===Abstract===<br /> Hao Jingfang's science fiction &quot;Folding Beijing&quot; won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu's rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of the theory of Nida's functional equivalence to &quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&quot;. The theory of Nida's functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu's application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.<br /> <br /> ===Key words===<br /> Functional Equivalence; Folding Beijing; meaning; style; culture<br /> <br /> ===题目===<br /> 刘宇昆翻译中的功能对等-以《北京折叠》为例<br /> ===摘要===<br /> 郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。<br /> <br /> ===关键词===<br /> 功能对等；《北京折叠》；意义；风格；文化<br /> <br /> ===Introduction===<br /> In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.<br /> <br /> This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers' understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida's functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.<br /> <br /> ===1. Eugene A. Nida and His Theory of Functional Equivalence===<br /> <br /> Eugene A. Nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work Toward a Science of Translating. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers' response, not just the equivalence of content and form. In his book The Theory and Practice of Translation, Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida's dynamic equivalence theory requires that the translation readers' response to the translation should be consistent with that of the original readers. <br /> <br /> Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &quot;The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers did&quot; (Nida 1993:118). <br /> <br /> In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the receptor-language reader's response, (3) the receptor language and culture as a whole. Nida defined the reader's response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader's response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.<br /> <br /> ===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===<br /> <br /> ====2.1 Functional Equivalence from Aspect of Meaning====<br /> <br /> Nida and Taber (2004：12) stated that &quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&quot; Meaning in this chapter will from three levels to discuss: words, sentences and passages, in other words, these three levels is a detailed analysis of the lexicon, syntax and discourse. According to the functional equivalence theory, translation should not only achieve literal equivalence, but also discover the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in the translation of Folding Beijing from lexical, syntactic and discourse perspectives.<br /> <br /> =====2.1.1 Lexical level=====<br /> <br /> In literary translation, how to correctly interpret the meaning of a word or phrase is always a difficult problem. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is most appropriate. In the English translation of Folding Beijing, there are many examples to illustrate how the translation achieves functional equivalence with the source text in the lexical level as follows:<br /> <br /> Example 1:<br /> “食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）<br /> <br /> &quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&quot; (Ken Liu 2015)<br /> <br /> Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &quot;the plastic tables at the food hawker stalls&quot; for readers to understand. &quot;Sour and spicy powder&quot; is originally a kind of Chinese noodles. The author uses &quot;hot and sour rice noodles&quot; to describe the taste of sour and spicy and the raw material of noodles is rice.<br /> <br /> Example 2:<br /> “这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）<br /> <br /> &quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&quot; (Ken Liu 2015)<br /> <br /> The translator uses &quot;a toothpick dangling between his lips&quot; to describe the action of picking teeth，it's more detailed and vivid. “懒散不修边幅” is translated into &quot;lazy and slovenly&quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &quot;the appearance of being perpetually grumpy&quot;, in this way, the translation better expresses the author's intention to express the meaning of looking bad-tempered. <br /> <br /> Example 3:<br /> “霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）<br /> <br /> &quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&quot; (Ken Liu 2015)<br /> <br /> The author did not translate directly “闪烁的小灯” into &quot;the little flashing lights &quot;, but &quot;Tiny flashing LEDs&quot;. This is also because of the translator's own understanding of the text, he wants the readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &quot;lapi&quot;, which is to show the original meaning.<br /> <br /> =====2.1.2 Syntactic Level=====<br /> <br /> Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese. The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, conjunctions and relationship between words in English use frequency is very high. Secondly, English speakers put attention on object consciousness and used to the order from a small object to a large one, from specific to general; In Chinese texts, there is usually a temporal, spatial or causal sequence of time sequence. Finally, English language usually emphasizes important information at the beginning of a sentence, while the Chinese language tends to process information from the obsolete to the fresh for the purpose of impressing people.<br /> <br /> In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a proper form. The following are some examples to show that how English translation oh Folding Beijing achieves functional equivalence to the original text in syntactic level: <br /> <br /> Example 1:<br /> “ ‘现在政府太混沌了，做事太慢，僵化，体系也改不动。’他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。’他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’” （Jingfang Hao 2016:15）<br /> &quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&quot; (Ken Liu 2015)<br /> We can see that in the translation of this paragraph, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the readers have supplemented and translated this sentence into &quot;I'll also work to expand the pool of candidates for government service and promotion&quot;, The translator perfectly explains what &quot;放开&quot; means.<br /> <br /> Example 2:<br /> “昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）<br /> <br /> “Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) <br /> <br /> In this passage, the text refers to “过去” twice with emphasis. In order to achieve the same emphasis in the English translation, the author chose to adjust the word order, placing &quot;In the dim lamplight&quot; between the two sentences, rather than using a subordinate clause like &quot;…childhood that…&quot;.<br /> <br /> Example 3:<br /> “再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）<br /> <br /> &quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&quot; (Ken Liu 2015)<br /> <br /> In this passage, we can see clearly that English has many more conjunctions than Chinese, like &quot;as though&quot;, &quot;from where&quot; and &quot;that&quot;, this is because of the difference in syntax between the two languages.<br /> <br /> =====2.1.3 Discourse level=====<br /> <br /> Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &quot;rewrite&quot; to make the translated text acceptable to readers. In literary translation, the translator should pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in the level of discourse. The following part selects a dialogue and its English translation in Folding Beijing as an example of literary translation to achieve functional equivalence in discourse level.<br /> <br /> “所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”<br /> <br /> 老刀没有动筷子。他很饿，可是他觉得这时不能吃。<br /> <br /> “可是这等于我也得撒谎。”<br /> <br /> 依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)<br /> <br /> &quot;And so&quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&quot; <br /> <br /> Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.<br /> <br /> &quot;Then I'd be lying, too,&quot; Lao Dao said.<br /> <br /> Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &quot;Please accept this token of my appreciation.&quot; (Ken Liu 2015)<br /> <br /> The conversational habits in Chinese are different from those in English, so some adjustments are often made when translating. The form of the dialogue is not completely translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”translated into &quot;spooned a serving of the new hot dish&quot;, the translator changed the action to &quot;spoon&quot;, which is more suitable for Yi Yan's identity image, it is more suitable as a girl in the first space to spoon the vegetables to Lao Dao. “推给老刀”translated into &quot;She pushed them across the table toward Lao Dao&quot;, this sentence adds some action to make it more pictorial.<br /> <br /> ====2.2 Functional Equivalence from Aspect of Style====<br /> <br /> Every writer has his own writing style, and no one can imitate it perfectly. That is to say, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows the language characteristics, and the English translation can also see that the translator tries to achieve the functional equivalence on the stylistic level.<br /> <br /> =====2.2.1 Rhetoric=====<br /> <br /> First of all, rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form and is a counterpart of dialectic. The use of rhetoric can create vivid images, vivid scenes, improve the effect of literature.<br /> <br /> Example 1:<br /> 老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)<br /> <br /> &quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&quot; (Ken Liu 2015)<br /> <br /> In this passage, the original text compares a hungry stomach to an abyss, and the English translation also uses this metaphor to form a rhetorical functional equivalence.<br /> <br /> Example 2:<br /> 不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)<br /> &quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&quot; (Ken Liu 2015)<br /> <br /> In this paragraph, it is a metaphor, and the words &quot;西山&quot; and &quot;孤&quot; in the original text are not translated, only translated into &quot;an island in the sea&quot;, this description is enough to show the image of a folded city.<br /> <br /> Example 3:<br /> 高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)<br /> <br /> &quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&quot; (Ken Liu 2015)<br /> <br /> It has a personification in this paragraph, &quot;skyscrapers&quot; have &quot;heads, feet, necks and arms&quot;, and &quot;like the humblest servants&quot;, the use of rhetoric enables people to imagine the folding picture of the city through the human image. By comparing the building to a herd of beasts, it shows its size and the sense of fear and oppression it brings.<br /> <br /> Example 4:<br /> 直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)<br /> <br /> &quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&quot;(Ken Liu 2015)<br /> <br /> In this sentence, although &quot;怪胎&quot; translate into &quot;monster&quot;, the &quot;生&quot;express also the same meaning, so the translator does not struggle.<br /> <br /> =====2.2.2 Dialects=====<br /> <br /> Dialect embodies the local characteristics, is the author's own writing style. Sometimes it's a problem in translation. In the following example, we can see how the translator handles this problem.<br /> <br /> For example, &quot;伙计&quot; in English &quot;waiter&quot; ,&quot;铺盖卷&quot; in English &quot;bedrolls&quot; ,&quot;闺女&quot;is translated as &quot;real daughter&quot; ,&quot;她们认死理儿&quot; is translated as &quot;they don't know how to be flexible&quot;,&quot;只是这么多年过来，人就木了.&quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.<br /> <br /> In short, whether the use of rhetoric or dialect in literature, can fully reflect the author's writing style. Therefore, in literary translation, the translator should study the differences between the source language and the target language in the ways to express stylistic differences, and find out the best way to make up for these differences. In this way, literary translation can achieve maximum functional equivalence at the stylistic level.<br /> <br /> ====2.3 Functional Equivalence from Aspect of Culture====<br /> <br /> In the process of translation, the cultural difference between the two languages is also an issue that translators should pay attention to. People who come into contact with different cultures have different ways of thinking, values and social customs and so on. Translators need to understand the two cultures and fully express the cultural elements contained in the original text. At this time, translation plays a role in cross-cultural communication. The translator must present the cultural meaning shown or implied in the original text to the readers so that the translation can achieve the cultural equivalence with the original text. In this chapter, we will analyze the English translation of Folding Beijing from the perspective of food culture, folk culture and culture of idioms, so as to explain how it achieves the functional equivalence with the original text.<br /> <br /> =====2.3.1 Food Culture=====<br /> <br /> The city described by Beijing Folding is the political and cultural center of China, and it is a city with profound cultural deposits. There are a lot of contents belonging to traditional Chinese food culture in the novel. This part will analyze how the translator translates these delicacies to achieve functional equivalence.<br /> <br /> Example 1:<br /> &quot;…面前摆着一盘炒面或炒粉… &quot;(Jingfang Hao 2016:2)<br /> <br /> &quot;Each kid had a plate of chow mein or chow fun…&quot; (Ken Liu 2015)<br /> <br /> &quot;炒面&quot;is a well-known traditional snack in China. The translator makes it into &quot;chow mein&quot;, rather than &quot;Chinese stir-fried noodles&quot;. In the dictionary, &quot;chow mein&quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also makes it more intuitive for the reader to know what the food is.<br /> <br /> Example 2:<br /> &quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&quot;(Jingfang Hao 2016:32)<br /> <br /> &quot;…over a half bottle of baijiu…&quot; (Ken Liu 2015)<br /> <br /> The foreignizing translation is adopted here, &quot;白酒&quot; is translated into &quot;baijiu&quot; , the translator doesn't use the word like &quot;spirits&quot;, it not only retains Chinese cultural characteristics, but also achieves communicative effect.<br /> <br /> Example 3:<br /> &quot;哎，你们知道那儿一盘回锅肉多少钱吗？&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…how much they charge for an order of twice -cooked pork over there?&quot; (Ken Liu 2015)<br /> <br /> The special feature of this dish is that it is boiled in water and then stir-fried. The translator captures this feature in the translation, trying to make people understand the meaning of &quot;回锅&quot;, and this dish is made with pork, he wants readers of the English translation to see an image of the dish in their heads in the same way that Chinese people do.<br /> <br /> =====2.3.2 Folk Culture=====<br /> <br /> Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.<br /> <br /> Example 1:<br /> &quot;…几个人分吃两个菜…&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…and they shared two dishes family-style.&quot; (Ken Liu 2015)<br /> <br /> &quot;分吃&quot; is the most common way of eating in traditional Chinese culture, where several dishes are shared among friends and family. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he use the word &quot;shared&quot; and he add the word &quot;family-style&quot; to make it easier for the reader to understand the behavior. <br /> <br /> Example 2:<br /> &quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&quot;(Jingfang Hao 2016:27)<br /> <br /> &quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&quot; (Ken Liu 2015)<br /> <br /> The culture of hometown is a major feature of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &quot;老乡&quot; from a geographical perspective. &quot;管事儿&quot;means to have some authority. The translator also explains this word so that readers can understand it easily.<br /> <br /> Example 2:<br /> &quot;一点心意，你收下。&quot; (Jingfang Hao 2016:23)<br /> <br /> &quot;Please accept this token of my appreciation.&quot;(Ken Liu 2015)<br /> <br /> In this passage, Yi Yan said that she hoped Lao Dao could help her keep a secret, so she wanted to give Lao Dao with money. &quot;心意&quot; means money, which is a euphemism used in China when it is inconvenient to offer money directly. In the translation, the translator also considered a euphemistic way of expression, so he used the word &quot;appreciation&quot;.<br /> <br /> =====2.3.3 Culture of Idioms=====<br /> <br /> Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.<br /> <br /> The author used many idioms in the article, such as &quot;饿虎扑食&quot;, the translator translated it into &quot;ate heartily&quot;, although the translation is easy to understand, but without the image that people are very hungry to eat, from the perspective of functional equivalence, English readers seem to be unable to reach the same level of understanding and response as Chinese readers. And &quot;（盘子）一片狼藉&quot;translated into &quot;The dishes were a mess&quot;, it is a brief description of the mess. And &quot;成人之美&quot; translated into &quot;in that case I'll have done a good deed by keeping silent&quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he was keeping secrets and that Yi Yan and Qin Tian might get together in the future. The translator abstractly translated the sentence in the English translation.<br /> <br /> ===Conclusion===<br /> <br /> From the analysis of the English translation of Folding Beijing from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of Folding Beijing to the English reader.<br /> <br /> Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is essentially the same as that of the source language readers, so the target language can be regarded as a functional equivalence translation. Analyzed from three aspects: meaning, style and culture &quot;Beijing fold&quot; English version, you can see on the language, while Chinese and English in logic and grammar are greatly different, there exist many differences in the Chinese culture and western culture, but the translator still tries his best to keep the content of the original text in the translation and find more appropriate words. In terms of some specific content, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction, which is of great value.<br /> <br /> ===References===<br /> <br /> [1] Hao Jingfang. Folding Beijing [J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy, 2015.<br /> <br /> [2] Nida, Eugene A. Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press,1993<br /> <br /> [3] Nida, Eugene A. Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001<br /> <br /> [4] Nida, Eugene A. &amp; Taber, Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2004<br /> <br /> [5] 郝景芳.孤独深处[M].南京：江苏凤凰文艺出版社，2016：1-40<br /> <br /> [6] 谭载喜.新编奈达论翻译[M].北京：中国对外翻译出版公司，1999<br /> <br /> [7] 许钧，穆雷.翻译学概论[M].南京：译林出版社，2009<br /> <br /> [8] 赵丹丹.浅论奈达的功能对等理论[J].文学教育，2011<br /> <br /> [9] 周兴阳.从功能对等理论视角看《北京折叠》英译本研究[J].新疆大学，2018<br /> <br /> [10] 王桂圆.系统功能语言学视角下《北京折叠》英译研究[J].海外英语，2018<br /> <br /> ==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==<br /> ===Abtract===<br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. <br /> ===Key Words===<br /> Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong<br /> ===题目 ===<br /> 功能对等理论下余光中译《不可儿戏》分析<br /> ===摘要===<br /> The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。<br /> ===关键词===<br /> 功能对等；《不可儿戏》；余光中<br /> ===Introduction===<br /> The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.<br /> <br /> “The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.<br /> <br /> ===An Introduction of Functional equivalence===<br /> ====The Definition of Functional Equivalence====<br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.<br /> <br /> ====Three Steps of Translation====<br /> Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.<br /> <br /> Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.<br /> <br /> Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.<br /> <br /> ===''The Importance of Being Earnest'' and Its Chinese Versions===<br /> ====An Introduction of Oscar Wilde and His Works====<br /> Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014). <br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.<br /> <br /> As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.<br /> <br /> ====Chinese Versions of The Importance of Being Earnest====<br /> =====An Overview of Its Chinese Versions =====<br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts.<br /> <br /> In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006). Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.<br /> <br /> =====Yu Guangzhong and His Chinese Version=====<br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.<br /> <br /> He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.<br /> <br /> ===The Application of Functional Equivalence to Yu Guangzhong’s Version===<br /> ====Translation Strategies of Yu Guangzhong’s Version==== <br /> =====Translation of the Drama Title=====<br /> So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).<br /> <br /> “Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”(Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference.<br /> <br /> =====Translation of Characters’ Names=====<br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration. <br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. In Chinese, “任真” and “认真” are homonyms，like the English homonyms. Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. He translated the pun in English into the pun in Chinese. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English. It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience of the drama will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. <br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.<br /> <br /> Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. When the audience heard of “梁勉仁”, they would realize that Algernon was a double-faced person at once. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, they expressed the same meaning that the person who named like that was double-faced, so the function of the original and the target language are the same. We guess that if Wilde writes this play in Chinese, he may use the same expression as Yu Guangzhong. Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality. <br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning of the source language.<br /> <br /> =====Translation of Characters’ Dialogues=====<br /> Allusions refer to the stories or words and sentences in ancient books quoted in poems; idioms refer to the fixed and customary expressions in a language, including proverbs, slang, catchphrase, lexical phrase, habitual collocation, restricted collocation, and etc. “There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.<br /> <br /> ======Alliteration======<br /> &quot;Many English allusions and idioms are used in Wilde’s plays&quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.<br /> <br /> (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just in order to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” in this dialogue actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.It is hard to translate alliteration in the target language. In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. In this example, he employed rhetorical devices in Chinese to replace alliteration. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”<br /> .<br /> (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The form of the sentence has changed, while the meaning remained. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence”<br /> <br /> ======Paradox======<br /> (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor <br /> husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)<br /> 巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)<br /> Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ manners and thoughts and the bourgeois society of his time, Victorian era.In the above example, Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while Lady. Bracknell says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox. After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.<br /> <br /> (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?<br /> CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for <br /> publication. (Wilde, 2009)<br /> 亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?<br /> 西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)<br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot;(Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text.<br /> <br /> ======Antithesis======<br /> <br /> (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)<br /> 亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)<br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul. <br /> <br /> (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)<br /> 劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)<br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married. In order to persuade him, she compared the two reasons of not getting married. &quot;The former is understandable, while the latter is incomprehensible&quot;(Wen Tong, 2012). In example 6, Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.<br /> <br /> ====Suggestions on Translation from Yu Guangzhong’s Version====<br /> Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works. <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why The Importance of Being Earnest becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original. <br /> <br /> The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs. For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers.<br /> In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice.<br /> <br /> ===Conclusion===<br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies. One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. 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Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> =Applicaton of Translation Theories=<br /> ==Study of Application of Interpretive Theory in Interpretation 韩宛真 Han Wanzhen 202020080603== <br /> <br /> ===Abstract===<br /> With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. <br /> <br /> With the development of economic globalization,exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand.The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice. Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:58, 16 December 2020 (UTC)<br /> <br /> ===Key words===<br /> interpretive theory; interpretation,; translation strategies<br /> <br /> ===题目===<br /> 释意理论指导下的口译<br /> <br /> ===摘要===<br /> 随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。<br /> <br /> ===关键词===<br /> 释意理论；口译；翻译策略<br /> <br /> ===1.Introduction===<br /> In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.<br /> <br /> ===1.1 Introduction of Interpretive Theory===<br /> The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. <br /> <br /> The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)<br /> <br /> The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &quot;meaning&quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.(Kong Shaohui 2009, 127)<br /> <br /> Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &quot;implied meaning&quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. <br /> <br /> Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.<br /> <br /> The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can<br /> understand:The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &quot;thought that has not been expressed in words&quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.<br /> <br /> The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &quot;de-verbalization&quot;. Adding the process of breaking away from the language<br /> shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.<br /> <br /> The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.<br /> In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)<br /> <br /> ===1.2 Introduction of Interpretation===<br /> Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.<br /> Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.<br /> <br /> There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &quot;lightning thinking&quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &quot;simultaneous interpretation&quot; is almost impossible). (Ouyang Changyi 2010)<br /> <br /> Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &quot;simultaneous interpretation is a half-expert in any field.&quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)<br /> <br /> ===2. Literary Review===<br /> No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.<br /> <br /> ===2.1 The Research on Interpretive Theory===<br /> Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.<br /> <br /> The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &quot;interpretive&quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. <br /> <br /> At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. <br /> <br /> Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.<br /> <br /> It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.<br /> <br /> ===2.2 The Research on Interpretation under the Guide of Interpretive Theory===<br /> Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. <br /> <br /> With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.<br /> <br /> First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &quot;One Belt One Road&quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &quot;Black Technology&quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.<br /> <br /> On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.<br /> The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.<br /> <br /> ===3.Translation Strategies based on Interpretive Theory===<br /> Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.<br /> Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> ===3.1 Free Translation===<br /> The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。<br /> Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.<br /> &quot;而立之年&quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.<br /> 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。<br /> Translation: FOCAC is a valuable asset for China and Africa.<br /> &quot;金字招牌&quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.<br /> <br /> ===3.2 Addition of Message===<br /> Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。<br /> Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.<br /> In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.<br /> 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。<br /> Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.<br /> From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.<br /> <br /> ===3.3 Positive and Negative Translation===<br /> <br /> As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:<br /> 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。<br /> Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.<br /> The sentences in the source text are all expressed by the negative &quot;cannot&quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.<br /> 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。<br /> Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.<br /> The source text is a negative sentence containing the negative “cannot&quot; when translated into English. The translator is telling the truth, the translation is &quot;at least&quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.<br /> <br /> ===Conclusion===<br /> In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.<br /> <br /> The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.<br /> The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)<br /> <br /> The interpretive theory is the hypothesis of &quot;beyond the shell of the source language&quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &quot;out of&quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)<br /> <br /> In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &quot;departure from the source language&quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&quot;(Lederer 2001, 45-50)<br /> <br /> ===References===<br /> *Bevir, Mark, Rod AW Rhodes. (2002). 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Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.<br /> <br /> *Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.<br /> <br /> * Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.<br /> <br /> * Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]<br /> <br /> * Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.<br /> <br /> *Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.<br /> <br /> *Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.<br /> <br /> ='''Theory and Practise'''=<br /> <br /> <br /> ==The Development of Translation in Chinese Buddhist Scriptures 陈佳欣 Chen Jiaxin==<br /> <br /> ===Abstract===<br /> The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.<br /> <br /> ===Keywords ===<br /> Buddhist scriptures, Translation, Literal translation, Free translation<br /> <br /> ===摘要===<br /> 佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。<br /> <br /> ===关键词===<br /> 佛经，翻译，直译，意译<br /> <br /> ===Introduction===<br /> Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time. About the first century AD Buddhism entered China along trade routes from Central Asia. Thus, the translation of Buddhist scriptures came into being. Buddhism was widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.<br /> <br /> During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the form similarity and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. “The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation” (Sun Shanshan 2014, 174).<br /> <br /> In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three period. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposed that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposed to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang held that translation “must be truthful and intelligible to the populace”.<br /> <br /> === The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===<br /> The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.<br /> <br /> ==== An Shigao ====<br /> An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He totally translated 35 Buddhist Scriptures, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).<br /> <br /> ==== Zhi Chen ====<br /> Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. <br /> <br /> ==== Zhi Qian ====<br /> Zhi Qian, also known as Zhi Yue, is a Buddhist scripture translator during the Three Kingdoms period. He is the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignore the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. <br /> <br /> (2)The mainstream translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures. On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore then can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.<br /> <br /> (3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.<br /> <br /> === the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===<br /> The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.<br /> <br /> ====Shi Daoan ====<br /> Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he is also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. <br /> <br /> “‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&quot;Three Difficulties in Translation&quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.<br /> <br /> The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.<br /> <br /> ==== Kumarajiva ====<br /> Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &quot; the first class master of translation&quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He is one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translates 39 volumes. He is proficient in both Chinese and Sanskrit languages, and advocates that as long as the translation does not violate the original meaning, there is no need to follow the original form. “Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &quot;geyi&quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992, 186). He argued that “geyi” is the culprit of the deformation of India Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25). <br /> <br /> Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness. Another remarkable achievement is his contribution to the translation workshop. After he arrived Chang'an, he began to organize translation workshops. Under his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).<br /> <br /> (2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads）are usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China，translators can take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there are more Sanskrit texts, they have more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.<br /> <br /> (3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.<br /> <br /> (4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).<br /> <br /> === Tang Dynasty ===<br /> The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously. In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age is Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.<br /> <br /> ==== Xuang Zang ====<br /> Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &quot; Sanzang Rabbi.&quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses, the number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).<br /> <br /> In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &quot;Doroni&quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &quot;bhaga&quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &quot;jumbu tree&quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &quot;Aunt Bodhi&quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &quot;prajna&quot; respect, &quot;wisdom&quot; is light and shallow. “The word &quot;Untranslatable&quot; here does not mean not translating, but rather &quot;not intended to translate&quot;, using transliteration”( Jian Xue 2018, 28).<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translators are mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also has a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who are proficient in Sanskrit has gradually increased, and the translation work does not need to turn to foreign monks.<br /> <br /> (2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation programs possible.<br /> <br /> (3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty is more all-sided in organization. “According to records, The translation workshop of the Tang Dynasty has as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them are rabbis appointed by the court.<br /> <br /> (4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.<br /> <br /> (5) The translation scripts are more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believes that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.<br /> <br /> === The Influence of the Translation of Buddhist Scriptures ===<br /> The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> The influence of Buddhist scripture translation on Chinese is mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.<br /> <br /> “In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&quot;, &quot;Sutra” etc; some are words that we don’t realize, such as &quot;memory&quot;, &quot;world&quot;, &quot;now&quot;, &quot;causality&quot;, &quot;attachment&quot;, &quot;emptiness&quot;, &quot;reality&quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).<br /> <br /> The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to be the main motive.<br /> <br /> In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.<br /> <br /> === Conclusion ===<br /> The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.<br /> <br /> The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.<br /> The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation<br /> <br /> === References ===<br /> Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223<br /> <br /> Meng Yue孟悦. 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(1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.<br /> <br /> He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.<br /> <br /> Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.<br /> <br /> Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.<br /> <br /> Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.<br /> <br /> ==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts'' 成于思 Cheng Yusi 202020080598 ==<br /> <br /> ==='''Abstract'''===<br /> André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the paper is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the paper will make a comparison of these two books to deepen readers' understanding of them.<br /> <br /> ===Key words===<br /> André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative Study of Chinese and Western Translation Principles'', “cultural turn”, John Dryden, translation principles<br /> <br /> ===题目===<br /> 《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析<br /> <br /> ===摘要===<br /> 安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。<br /> <br /> ===关键词===<br /> 安德烈·勒菲弗尔,《翻译，历史和文化论集》，刘宓庆，《中西翻译思想对比研究》，文化转向，约翰·德莱登，翻译原则<br /> <br /> ===1.Introduction===<br /> This paper presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, this paper is intended to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This paper will be divided into three parts.<br /> <br /> In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden compares a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014). Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.<br /> <br /> In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72). Finally, the author will show some scholars’ appraisals of this book.<br /> <br /> In part three, it intends to give a brief comparison of these two books in contents and forms.<br /> <br /> All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.<br /> <br /> ===2. Analysis of ''Translation, History and Culture: A Sourcebook''===<br /> <br /> ''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&quot;(Munday 2016,199). As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &quot;cultural turn&quot; of translation proposed by Translation Studies. <br /> <br /> In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &quot;a rewriting of an original text&quot;. Here, they explained that &quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&quot; (Lefevre 2003, xi). According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. <br /> <br /> In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii). <br /> <br /> Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &quot;cultural turn&quot;. The &quot;cultural turn&quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &quot;cultural turn&quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)<br /> <br /> If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &quot;cultural turn&quot;, Translation, History and Culture: A Sourcebook, with abundant case studies, is proved to be a good illustration of their thoughts. <br /> <br /> The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)<br /> <br /> I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. <br /> <br /> I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&quot;. (Lefevere 2003, 47). <br /> <br /> In this part, I will analyze John Dryden's three types of translation and his comparison of &quot;author and translator&quot; to &quot;master and slave&quot; through the excerpts collected in Translation, History and Culture: A Sourcebook. (Lefevere 2003, 24;102-105).<br /> <br /> Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2). The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &quot;author and translator&quot; to &quot;master and slave&quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii). Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.<br /> <br /> Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102).<br /> <br /> In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). <br /> <br /> Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating the poem in such a way is like &quot;dancing on ropes with fettered legs&quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103).<br /> <br /> Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&quot;.(Lefevere 2003, 103). <br /> <br /> As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103).<br /> <br /> Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. &quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&quot;.(Lefevere 2003, 104).<br /> <br /> It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &quot;he may stretch his chain to such a latitude&quot;.(Lefevere 2003, 105). In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. <br /> <br /> Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019).<br /> <br /> However, in Chapter Two, in &quot;Dedication&quot; to his translation of the Aeneid, Dryden argued that &quot;We are bound to our author's sense, though with the latitudes already mentioned&quot;.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. &quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&quot; (Lefevere 2003, 24). <br /> <br /> Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies. (Niu Yunping, 2014). <br /> <br /> A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &quot;classical writers&quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014).<br /> <br /> Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73). <br /> <br /> About the value of this book, Translation, History and Culture: A Sourcebook is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii).<br /> <br /> ===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===<br /> <br /> In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &quot;Sixiang&quot; (&quot;thought&quot; in Chinese) refers to &quot;principle&quot; in the West in this book. (Liu Miqing 2005, 2). <br /> <br /> In the FAQ passage, the author explained why he wrote this book. &quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&quot;(Liu Miqing 2005, i). It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. <br /> <br /> Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)<br /> <br /> The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33). <br /> <br /> He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43).<br /> <br /> The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39).<br /> <br /> Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150).<br /> <br /> Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &quot;emphasis on meaning&quot; and establish a new concept of &quot;emphasis on the meaning in communication&quot; (Liu Miqing 2005,179). <br /> <br /> The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288).<br /> <br /> However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288).<br /> <br /> Finally, Liu points out that western translation theory is &quot;technology-oriented&quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293).<br /> <br /> The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &quot;translation and language game&quot;, Liu puts forward that &quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402).<br /> <br /> Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i). This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44).<br /> <br /> Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflects the integration of religion and politics in foreign countries. (Liu Miqing 2005,44). For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987).<br /> <br /> Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &quot;all is vanity&quot;, &quot;being detached from worldly affairs&quot; and &quot;obedience&quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987). <br /> <br /> In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still touched by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46). <br /> <br /> As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but cleared the way to economic growth as well. Meanwhile, integrated translation paved the way for European integration. (Liu Miqing 2005, 101). <br /> <br /> The second characteristic of the tradition of Chinese translation is &quot;regulation to perfection&quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51). <br /> <br /> The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101). Moreover, Western translation principles give priority to &quot;Communicative Translation&quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104). <br /> <br /> The third characteristic is &quot;the focus on meaning as well as aesthesis&quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52).<br /> <br /> Wang Guowei pointed out that the word &quot;Nao&quot; in the verse &quot;Hong Xing Zhi Tou Chun Yi Nao&quot; conveys the Jingjie of the whole poem. (Wang Guowei 2017,15). Therefore, if one attempts to translate the poem, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility. It expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104).<br /> <br /> Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006). <br /> <br /> Lu Wei and Li Defeng shed light on the topic &quot;translation theories with Chinese characteristics&quot; and argued that Liu Miqing's A Comparative Study of Chinese and Western Translation Principles provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010).<br /> <br /> ===4. Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===<br /> <br /> ===4.1 From the aspect of the content===<br /> Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. Translation History and Culture: A Sourcebook concentrates on Western translation principles before contemporary translation studies. While A Comparative study of Chinese and Western Translation Principles analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. <br /> <br /> Meanwhile, they boast their distinctive writing style. In Translation History and Culture: A Sourcebook, Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracted other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)<br /> <br /> ===4.2 From the aspect of the arrangement===<br /> Both of these two books are arranged in theme, rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. The longer essays are collected in the last chapter. Liu arranges his book differently.<br /> <br /> Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', including the characteristics, origins, schools and limitations of Chinese and western translation, Liu not only quotes other’s statement, he applies many tables to demonstrate his thoughts, which helps the readers better understand translation principles.<br /> <br /> ===Conclusion===<br /> In conclusion, the paper is intended to help readers to understand these two books in depth. After a brief introduction of these two books, it analyzes John Dryden’s three types of translation and his comparison of translator to slave and figures out the reason for the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper made a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learns translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.<br /> <br /> ===References===<br /> André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp; Francis e-library.<br /> <br /> André Lefevere &amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;New York: Pinter Publishers.<br /> <br /> Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.<br /> <br /> Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.<br /> <br /> Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp; Francis Group.<br /> <br /> Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp; Publishing Corporation中国对外翻译出版公司.<br /> <br /> Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp; Technology Translators Journal 23(02):11-14+29.<br /> <br /> Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.<br /> <br /> Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.<br /> <br /> Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.<br /> <br /> Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> ==The development and future trend of translation Theory 张慧 Zhang Hui 202070080622 英语笔译==<br /> <br /> ===Abstract===<br /> This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.<br /> ===Key Words===<br /> Chinese and Western, translation theory, development, trend<br /> ===摘要===<br /> 本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。<br /> ===关键词===<br /> 中西方，翻译理论，发展，趋势<br /> ===Introuction===<br /> Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.<br /> <br /> Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)<br /> ===The Four Periods of Development of Chinese Translation Theory===<br /> <br /> Ancient Translation Period<br /> <br /> The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）<br /> <br /> Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &quot;seeking the truth&quot; and &quot;using the vulgar&quot; in the translation process. He also established the principle of &quot;five not to turn,&quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）（quotation missing）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> Translation of the Late Qing Dynasty and Early Republic of China<br /> <br /> A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）<br /> <br /> Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）<br /> <br /> Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）<br /> <br /> His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）（paragraph too long）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.<br /> <br /> Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: <br /> <br /> (1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.<br /> <br /> Translation Theory in the Republic of China<br /> <br /> Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &quot;shenyun translation&quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）<br /> <br /> Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）<br /> <br /> After the Founding of the People’s Republic of China<br /> <br /> The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）<br /> <br /> Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）<br /> ===Prospects for the Development of Contemporary Chinese Translation Theory===<br /> <br /> Emphasis on the study of basic translation theory <br /> <br /> Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> “Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). <br /> <br /> In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). <br /> <br /> Innovation of ontology<br /> <br /> Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) <br /> <br /> Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> ===The Historical Development of Western Translation Theory and Its Classification===<br /> <br /> Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. <br /> <br /> The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)<br /> <br /> <br /> The School of Thought and the Main Characteristics of Western Translation Theory<br /> <br /> Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.<br /> <br /> Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. <br /> <br /> The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. <br /> <br /> These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. <br /> <br /> Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. <br /> <br /> Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. <br /> <br /> The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)<br /> <br /> The Response of Western Translation Theory in China’s Translation Industry<br /> <br /> As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. <br /> <br /> Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)<br /> <br /> ===Analysis of Theoretical Research Status===<br /> <br /> Descriptive Analysis of Translation Theory Research<br /> <br /> First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)<br /> <br /> Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.<br /> Third, researchers and institutions. <br /> <br /> The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)<br /> Systematic Analysis of Translation Theory Research<br /> <br /> First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.<br /> <br /> Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.<br /> <br /> Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.<br /> <br /> Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. <br /> <br /> Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. <br /> <br /> This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.<br /> <br /> Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).<br /> <br /> The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. <br /> <br /> The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.<br /> <br /> ===Trends in Translation Theory Research===<br /> <br /> Interdisciplinary cooperation and integration<br /> <br /> Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. <br /> <br /> In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）<br /> <br /> Return to culture development<br /> <br /> The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.<br /> <br /> Seeking Common Ground while Surviving Differences in Cultural Translation<br /> <br /> Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）<br /> <br /> ===Conclusion===<br /> <br /> From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.<br /> <br /> ===References===<br /> <br /> [1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.<br /> <br /> [2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.<br /> <br /> [3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.<br /> <br /> [4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.<br /> <br /> [5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.<br /> <br /> [6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.<br /> <br /> [7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.<br /> <br /> [8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.<br /> <br /> [9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.<br /> <br /> [10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.<br /> <br /> [11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.<br /> <br /> ==A Cultural Critique of Foreignization and Domestication 吴子佳 Wu Zijia==<br /> <br /> ==='''Abstract'''===<br /> Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.<br /> <br /> ==='''Key words'''===<br /> <br /> Domestication foreignization cultural-overloaded words cross-cultural communication.<br /> <br /> ==='''摘要'''===<br /> <br /> 归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。<br /> <br /> ==='''关键词'''===<br /> <br /> 归化，异化，文化负载词，跨文化交流<br /> <br /> <br /> ===''' Introduction of Domestication and Foreignization '''===<br /> <br /> Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）<br /> <br /> On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.<br /> Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）<br /> <br /> For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku）<br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞” cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku）<br /> <br /> ==='''Analysis on Culture Differences in Translation'''===<br /> <br /> Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. <br /> <br /> Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）<br /> <br /> So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &quot;dog&quot; is mostly unpleasant, so the metaphor of &quot;dog&quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）<br /> <br /> On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &quot;dog&quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）<br /> <br /> Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &quot;rice&quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &quot;bread and butter,&quot; &quot;big potato&quot;,”hot potato” and &quot;couch potato.&quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）<br /> <br /> ===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===<br /> <br /> 1. Practice of foreignization and domestication in tourism culture<br /> <br /> The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)<br /> <br /> Example 1:<br /> <br /> 路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字<br /> To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))<br /> Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> Example 2<br /> <br /> 云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。<br /> Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.<br /> Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> <br /> Example 3<br /> <br /> 花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)<br /> 孤山: Gushan (Solitary Hill) <br /> 湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。<br /> Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”<br /> Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> <br /> Example 4 <br /> <br /> Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> Example 5<br /> <br /> 她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。<br /> It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.<br /> The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> Example 6<br /> <br /> 四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。<br /> Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. <br /> By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> 2. Practice of Foreignization and Domestication in Food Culture<br /> <br /> With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）<br /> <br /> For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）<br /> <br /> Example 7<br /> <br /> 番茄牛腩(tomato and beef brisket)<br /> This translation consists of main ingredient and ingredient.<br /> 砂锅面(casserole noodles)<br /> This translation consists of utensils and ingredients.<br /> 淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)<br /> This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.<br /> 炒酸菜, 手抓饼(sauerkraut, shredded cake)<br /> This translation consists of the cooking method or eating method and ingredients.<br /> Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）<br /> <br /> Example 8<br /> <br /> 蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)<br /> This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.<br /> 霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)<br /> This translation is named after historical allusions.<br /> 驴打滚 (打糕) :Donkey roll (beating cake)<br /> This translation is named according to the production process metaphor. <br /> 佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).<br /> This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）<br /> <br /> Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.<br /> <br /> Example 9<br /> <br /> “叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &quot;Baked Chicken&quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)<br /> <br /> <br /> If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)<br /> <br /> Example 10<br /> <br /> Some foods are usually translated in the form of &quot;Hanyu Pinyin + English notes&quot; in order to retain certain characteristics.<br /> For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）<br /> <br /> For example, &quot;豆腐&quot; translates as &quot;Toufu&quot;; &quot;馄饨&quot; translates as &quot;Wonton&quot;. The translation of四一丸子:&quot;Four Happy Meatballs&quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）<br /> <br /> 3. Practice of Foreignization and Domestication in Diplomacy<br /> <br /> Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）<br /> <br /> Example 11<br /> <br /> 我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。<br /> What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.<br /> In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）<br /> <br /> Example 12<br /> <br /> “投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）<br /> To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.<br /> This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）<br /> <br /> Example 13<br /> <br /> 耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）<br /> &quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.<br /> This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）<br /> <br /> Example 14<br /> <br /> “滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）<br /> <br /> &quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.<br /> This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）<br /> <br /> Example 15<br /> <br /> 我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）<br /> <br /> If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&quot;稻草、吸管&quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）<br /> <br /> ===''' Conclusion '''===<br /> <br /> Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.<br /> <br /> ===''' References '''===<br /> <br /> * Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.<br /> * Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.<br /> * Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.<br /> * Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.<br /> * Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.<br /> * Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.<br /> * Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.<br /> * Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.<br /> <br /> ='''Contemporary Translation Studies'''=<br /> <br /> <br /> ==A Study On the Influence of Linguistics on the Construction of Translatology 孔祥慧 Kong Xianghui 202020080608==<br /> &lt;center&gt;孔祥慧 Kong Xianghui &lt;/center&gt;<br /> ==='''Abstract'''===<br /> Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .<br /> <br /> ==='''Key words'''===<br /> Translatology;Linguistic;Discipline Construction<br /> <br /> ===摘要===<br /> 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。<br /> <br /> ===关键词===<br /> 翻译学；语言学；学科构建<br /> <br /> ==='''1.Introduction'''===<br /> Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）<br /> <br /> For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）<br /> <br /> This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.<br /> <br /> ==='''2.Literature review '''===<br /> This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. <br /> <br /> '''2.1Studies on the construction of translatology aboard'''<br /> <br /> In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.<br /> <br /> Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.<br /> <br /> J.C. Catford in his book ''A Linguistic Theory of Translation'' (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.<br /> <br /> Holmes published ''The Name and Nature of Translation Studies'' at The Third International Conference on Applied Linguistics in 1972, which was &quot;widely regarded as the founding declaration of the discipline of translation studies&quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.<br /> <br /> In 1982, Wolfram Wilss published ''the Science of Translation: Problems and Methods'', clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.<br /> <br /> Newmark is also a representative figure in the field of translation. In his book ''Exploration of Translation'' (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.<br /> <br /> Hatim &amp; Mason, whose representative work is ''Discourse and the Translator'' (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.<br /> <br /> Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.<br /> Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published ''Translation and Conflict'': A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.<br /> <br /> '''2.2 Studies on the construction of translatology at home'''<br /> <br /> In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology in China made great progress.<br /> <br /> In 1951, Dong Qius, a famous Chinese translator, published his article ''On the Construction of Translation Theory''. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.<br /> <br /> In 1987, Tan Zaixi clearly put forward the view that &quot;translation studies are an independent subject&quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published ''On Approaches to Translation Studies''. In this paper, Tan mainly distinguished two concepts of &quot;translation&quot; and &quot;translatology&quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.<br /> <br /> In the thesis ''An Overview of Western Translation Theory'' (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.<br /> <br /> In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.<br /> <br /> At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.<br /> <br /> Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published ''Constructing The Linguistic Basis of Translation Studies'' (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.<br /> <br /> Yi Jing published his doctoral thesis ''On The Construction of Translation Studies'' (2009), which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis ''On The Construction of Translation Studies'' in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.<br /> <br /> In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in ''Translation View in Cognitive Linguistics'' proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.<br /> <br /> Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.<br /> <br /> From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.<br /> <br /> ==='''3.The Construction of Translatology '''===<br /> <br /> In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.<br /> <br /> '''3.1Translation and Translatology'''<br /> <br /> &quot;Translation&quot; and &quot;translatology&quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)<br /> <br /> In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &quot;translatology&quot; is used to refer to translation studies.&quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&quot;.（Liu Zhongde，1995）<br /> Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.<br /> <br /> '''3.2 Three Stages of Translatology'''<br /> <br /> Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.<br /> <br /> '''3.2.1 Early translation practice'''<br /> <br /> Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)<br /> <br /> '''3.2.2 The awareness of an academic discipline'''<br /> <br /> Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &quot;translation must become an independent discipline&quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.<br /> <br /> Such a group of people also appeared in modern China. Lin Yutang used the word &quot;translation studies&quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）<br /> <br /> '''3.2.3 The rapid development stage of translation studies'''<br /> <br /> Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018)<br /> Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.（Wikipedia）<br /> <br /> ==='''4.The Influence of Linguistics on the Construction of Translatology'''===<br /> <br /> For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.<br /> <br /> 4.1 Contributions of early linguists to translation<br /> <br /> As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.<br /> Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &quot;signifier&quot; and &quot;signified&quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）<br /> <br /> These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.<br /> <br /> 4.2 Translation studies based on linguistic theory<br /> <br /> In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.<br /> <br /> 4.2.1 The influence of Structuralist linguistics<br /> <br /> Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &quot;pure linguistic forms&quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.(Lvjun，2004)<br /> <br /> Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &quot;the science of translation&quot; and &quot;dynamic equivalence/Functional equivalence&quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &quot;six-level equivalence theory&quot; .(Yi Jing,2012)<br /> <br /> Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.（Zou Bin,Mu Lei,2020)<br /> <br /> 4.2.2 The influence of discourse linguistics<br /> <br /> For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002）<br /> Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics.<br /> The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）<br /> <br /> 4.2.3 The influence of contemporary linguistics<br /> <br /> As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）<br /> <br /> Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.(Liao Qiyi， 2000)<br /> <br /> 4.3 The experience of the construction of linguistics<br /> <br /> In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.<br /> <br /> 4.4.1 Discipline development<br /> <br /> Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.（Kong Xiangli，2009）<br /> The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.<br /> <br /> 4.4.2 Discipline structure<br /> <br /> Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.<br /> From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.（Yi Jing，2009）<br /> Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.<br /> <br /> 4.4.3 Development Trend of discipline<br /> <br /> Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.<br /> In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）<br /> <br /> ==='''5.Conclusion'''===<br /> Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.<br /> <br /> ==='''References'''===<br /> Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.<br /> <br /> Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.<br /> <br /> Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''<br /> <br /> Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.<br /> <br /> Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. ''当代语言学''[Modern Linguistic] 3-5.<br /> <br /> Fang Xiangtao,Lu Bixiao. (2019). 范祥涛,陆碧霄.认知翻译研究的观念和方法. [Concepts and Methods of Cognitive Translation Studies]. ''外语教学''[Foreign Language Education] 8-12.<br /> <br /> Huang Guowen. 黄国文. (2006). 关于翻译研究语言学探索的几个问题. [Questions about the Linguistic Exploration of Translation Studies]. ''外语艺术教育研究''[Educational Research on Foreign Languages &amp; Arts] 35-41.<br /> <br /> Kong Xiangli. 孔祥立. (2009). 中国翻译学学科建设论. [On the subject construction of Chinese Translation Studies]. 上海外国语大学[Shanghai International Studies University].<br /> <br /> Li Yan, Feng Huali. 李艳,冯华丽.(2020) 国内基于语料库的翻译研究二十年综述(1999—2018). [A review of 20 Years of Corpus-based Translation Studies in China(1999—2018)]. ''成都理工大学学报(社会科学版)'' [Journal of Chengdu University of Technology(Social Science) ]105-110.<br /> <br /> Liu Miqing. 刘宓庆. (1989). 西方翻译理论概评. [An Overview of Western Translation Theory]. ''中国翻译''[Chinese Translators Journal] 2-6.<br /> <br /> Liu Zhongde. 刘重德. (1998). 关于建立翻译学的一些看法. [Views on the Establishment of Translation Studies]. ''外国语(上海外国语大学学报)'' [Foreign Languages (Journal of Shanghai International Studies University)] 27-31+60.<br /> <br /> Lv Jun. 吕俊. (2004). 建构翻译学的语言学基础. [The Linguistic Basis of Translation studies]. ''外语学刊''[Foreign Language Research] 96-101.<br /> <br /> Liao Qiyi. 廖七一. (2000). 语料库与翻译研究[Corpus and Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 380-384.<br /> <br /> O Aiping. 欧爱萍.(2012). 浅谈语言学对翻译学科的影响. [A Brief Discussion on the influence of Linguistics on translation]. ''中外企业家''[Chinese and Foreign Entrepreneurs] 179-180.<br /> <br /> Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.<br /> <br /> Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.<br /> <br /> Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.<br /> <br /> Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.<br /> <br /> Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.<br /> <br /> Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].<br /> <br /> Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.<br /> <br /> Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.<br /> <br /> Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.<br /> <br /> Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.<br /> <br /> Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.<br /> <br /> ==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658==<br /> <br /> ==='''Abstract'''===<br /> <br /> With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.<br /> <br /> ==='''Key words'''===<br /> <br /> Translation Studies, translation education, translation talents<br /> <br /> ==='''题目'''===<br /> <br /> 对中国翻译学学习的反思<br /> <br /> ==='''摘要'''===<br /> <br /> 随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析学习翻译学科目前存在的问题，并提出相关的建议。 <br /> <br /> ==='''关键词'''=== <br /> <br /> 翻译学，翻译教育，翻译人才<br /> <br /> <br /> ==='''1. Introduction'''===<br /> <br /> 1.1. The Connotation of Translation Studies<br /> <br /> Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &quot;''The Name and Nature of Translation Studies''&quot;, is a basic statement of translation studies: it calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, including comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.<br /> Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation Studies can examine the practice and background of translating professional texts (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. <br /> <br /> Learning these contents enables students to apply their theoretical understanding to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually include the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills needed to solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.<br /> <br /> 1.2. The Significance of Translation Study<br /> With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. At the same time, as today's multicultural and multilingual society requires effective, efficient and understanding communication between languages and cultures, translation skills have become more and more important and desirable. <br /> <br /> As a science, Translation Studies has always had its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can understand the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. This is also the necessity for translators to learn Translation Studies.<br /> <br /> ==='''2. The Development Process of Translation Studies in China'''===<br /> <br /> Translation activities has appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, the flourishing period of Translation Studies.<br /> <br /> 2.1. The Exploration Period of Translation Studies <br /> <br /> In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, Almost no. What we have are some translation regulations and fragments of experience for temporary reference.&quot; He clearly called for the establishment of &quot;a complete translation theory system&quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared in history.<br /> <br /> However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have become increasingly single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc. At that time, because a large number of people who understand foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to strengthen foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under foreign language and literature, but the distinction between translation teaching and language teaching has gradually become clear.<br /> <br /> 2.2. The Development Period of Translation Studies<br /> <br /> At the beginning of this period, it was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. At this stage, some masters and doctors in translation studies joined the construction team translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation desperately. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of &quot;''China Translator''&quot; in 2004 come to congratulate. Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.(Huang Zhongqian, Zhang Xiao 2020) Translation research ideas, methods, space and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.<br /> <br /> 2.3. The Flourishing Period of Translation Studies<br /> <br /> In 2011, the Ministry of Education adjusted the discipline catalog and listed &quot;Translation Studies&quot; as a second-level subject under the first-level discipline of &quot;Foreign Languages and Literature&quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction. In the flourishing period, the construction of translation disciplines and the development of translation majors in China have shown a new look. Many levels have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training. There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.<br /> <br /> ==='''3. Challenges of Learning Translation Studies in China'''===<br /> <br /> The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. China's translation discipline has now entered a new stage, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.<br /> <br /> 3.1. Translation Education<br /> <br /> With the establishment of the status of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the training of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better. However, China's translation education started and developed after the reform and opening up, is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, and systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.<br /> <br /> 3.1.1. Orientation of the Cultivation of Translation Talents<br /> <br /> At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to the unclear concept of the cultivation of translation talents. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation professional teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market. (Zhong Weihe 2019)Due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.<br /> <br /> 3.1.2. Faculty Resources<br /> <br /> The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. The problem of translation teachers has always been a bottleneck problem that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data show that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &quot;''National Standard of Part-time Teacher in MTI Education'' &quot;. (Zhong Weihe 2019) In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.<br /> <br /> 3.1.3. Teaching method<br /> <br /> Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2020) For example, this kind of teaching method that ignores student autonomy is entirely a teacher-centered teaching model, which will place too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.<br /> <br /> 3.1.4 Translation Teaching Research<br /> <br /> The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is rare. besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play.(Bo Zhenjie, Li Heqing 2011) However, combining actual translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but not deep into the actual situation.<br /> <br /> 3.2. Students<br /> <br /> The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.<br /> <br /> 3.2.1. Low level of commitment to translation learning<br /> <br /> Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between the word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.<br /> <br /> 3.2.2. Insufficient background knowledge <br /> <br /> Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not grasp sufficient background information. With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. (Xie Zhentian, 2015) Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.<br /> <br /> 3.2.3. Neglect of theoretical knowledge<br /> <br /> At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）<br /> <br /> ==='''4. Suggestions for the Learning of Translation Studies'''===<br /> <br /> In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved according to the development of times. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote the development of Translation Studies in China.<br /> <br /> 4.1. Translation Education<br /> <br /> 4.1.1. Improve Teaching Mode<br /> <br /> The teaching model is an important basic guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation or current affairs. Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to make something new. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. The objective teaching method is a teaching mode that can be introduced in translation teaching. This type of mode attaches great importance to the construction of learning environment and the value of teachers' guidance to students. (Ou Yonghua 2019) This is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.<br /> <br /> 4.1.2. Strengthen Faculty Force<br /> <br /> Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and first-line translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)<br /> <br /> 4.1.3. Broaden the academic vision of translation<br /> <br /> Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which is a comprehensive academic research of the discipline. Carry out the provision of roadmap (Lan Hongjun, 2018); the second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary and integration, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)<br /> <br /> 4.2. Students <br /> <br /> The quality of translation talents plays a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.<br /> <br /> 4.2.1. Expanding knowledge<br /> <br /> Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future, in addition to having a solid foundation in language ability, they should also take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills. A very good way to expand their knowledge is to improve their search ability. Search ability, specifically, refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students is urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)<br /> <br /> 4.2.2. Emphasize theory and practice more<br /> <br /> Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics, not only the translation skills and theories，but also practice more. Theories that are out of practice cannot keep up with the development of the times. Students must spend enough time in practicing. They can go to the front line of production or go deep into all aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.<br /> <br /> ==='''5.Conclusion'''===<br /> <br /> This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the concept of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Those engaged in translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and so on. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.<br /> <br /> President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies were not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, draw on the latest foreign translation theories, combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. (Zhong Weihe, Zhao Tianyuan 2020) The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.<br /> <br /> ==='''References'''===<br /> Holmes, James S. (1972). 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[The Status Quo of Translation Teaching in China and the cultivation of Interdisciplinary Translators].文存阅刊[''Wen Cun Journal''] 87.<br /> <br /> Wang Na.王娜. (2020).MTI在校生搜索能力不足成因分析. [An Analysis of the Causes of Insufficient Searching Ability of MTI Students].海外英语[''Overseas English''] 194-195.<br /> <br /> Zhong Weihe.仲伟合.(2019).改革开放40年我国翻译专业教育:成就、挑战与发展. [China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.<br /> <br /> Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.<br /> <br /> ==The influence of translator's cultural identity on translation 周玉娟 Zhou Yujuan 202020080674 亚非语言文学波斯语方向 ==<br /> ===Abstract===<br /> Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.<br /> <br /> ===Keywords===<br /> translation; translator; cultural identity; Shakespeare's plays<br /> <br /> ===摘要===<br /> 梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。<br /> <br /> ===关键词===<br /> 翻译；译者；文化身份；莎士比亚剧<br /> <br /> ===Introduction===<br /> Translating a work is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important active role in both translating the content and interpreting it, and the translator is the first person who is in direct contact with the original text.<br /> <br /> Benjamin, the famous German literary critic, once said : &quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &quot;cultural identity&quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)<br /> <br /> There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.<br /> <br /> === Introduction to the identity of the translator===<br /> Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.<br /> <br /> Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.<br /> <br /> &quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&quot; (Xi Yongji. 2007:245)<br /> <br /> ====Zhu Shenghao's Cultural Identity====<br /> Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.<br /> <br /> In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.<br /> <br /> Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on naturalization strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.<br /> <br /> ====Liang Shiqiu's Cultural Identity====<br /> Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.<br /> <br /> However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &quot;All civilization is the original creation of a very few geniuses&quot;, &quot;literature and art are the original creation of a few geniuses&quot;, &quot;there is no literature and art for the majority, and literature and art are not for the majority &quot;. (Liang Shiqiu: R.O.C. 23) &quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&quot; <br /> As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12) <br /> <br /> We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &quot;genius literature&quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese literary world. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.<br /> <br /> ====Foreignization and domestication Strategies====<br /> According to Venuti, domestication is &quot;bringing the original author into the desired language and culture of the translation&quot;, while dissimilation is &quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&quot; (Venuti, 1995:20). (Venuti, 1995:20)<br /> <br /> Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.<br /> <br /> The method of Foreignization is: &quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.<br /> <br /> ===The cultural identity of translators in translation===<br /> First, the translator is the second pair of eyes of the reader. &quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.<br /> <br /> Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.<br /> <br /> ====In terms of the original intention of translation====<br /> The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &quot;interest&quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao himself said, &quot;I love Shakespeare's plays so much and so only that I have tried to read the whole text at least ten times from the beginning to the end. ......&quot; Zhu's love for Shakespeare is so strong that &quot;He was so passionate about Shakespeare that he would not stop reading Shakespeare, not eating it. <br /> <br /> In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.<br /> <br /> Liang Shiqiu believes that there is a distinction between elegant and vulgar literature, genius is to appreciate literature, the general public to read are popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &quot;the highest art only a few people can understand ......, literature and art is not the majority.&quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &quot;literature is created by genius&quot;.<br /> <br /> When he studied at Harvard University, he took the course &quot;Literary Criticism after the Sixteenth Century&quot; by the American neoclassicist Byrd Byrd, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &quot;preserve the most authentic things&quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &quot;hard translations&quot; and &quot;bent translations&quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)<br /> <br /> ====In terms of the content of the translation (taking the translation of Shakespeare as an example)====<br /> Zhu Shenghao stated at the beginning of his translation: &quot;My aim in translating this book is, first, to maintain the charm of the original work to the greatest extent possible, and then to consider the second point if it is not feasible, that is, to convey faithfully the meaning and feelings of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao's translation of Sha plays more attention to the performance function of drama.<br /> <br /> For example: ( the translation of Zhu Shenghao)<br /> EGEUS: Stand forth，Demetrius． My noble lord，<br /> 伊吉斯:走上前来，狄米特律斯。殿下，这个人，<br /> This man hath my consent to marry her．<br /> 是我答应把我女儿嫁给他的<br /> Stand forth，Lysander．<br /> 走上前来，拉山德。<br /> And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）<br /> 殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）<br /> <br /> In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &quot;purified&quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. <br /> For example, his translation. <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，<br /> Or I will shake thee from me like a serpent． (Ⅲ． ⅱ) (莎士比亚.2011:110)<br /> <br /> 拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!<br /> 否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。<br /> <br /> Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &quot;faithfulness and fidelity&quot;. The style of &quot;faith&quot; and &quot;faithfulness&quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.<br /> <br /> First: Stay true to the original text and try not to delete or subtract from it.<br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ． ⅱ) (莎士比亚.2001:110)<br /> <br /> Translation of Liang Shiqiu:<br /> 赖， 走开，你这个猫，你这个缠人的东西! 下流的东西，松手，<br /> 否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。<br /> <br /> HELENA She was a vixen when she went toschool: <br /> And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)<br /> <br /> Translation of Liang Shiqiu:<br /> 海 上学时她就是个狐狸精。<br /> 她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。<br /> <br /> Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &quot;Shakespearean&quot;. &quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&quot;. (Liang Shiqiu. 1966) <br /> Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. <br /> For example, a fragment of Liang Shiqiu's translation of Hamlet.<br /> <br /> Queen. There is a willow grows aslant a brook,<br /> That shows his hoar leaves in the glassy stream;<br /> There with fantastic garlands did she come,<br /> Of crow-flowers, nettles, daisies, and long purples,<br /> That liberal shepherds give a grosser name.<br /> But our cold maids do dead man’s fingers call them:<br /> There, on the pendent boughs her coronet weeds<br /> Clambering to hang ,an envious sliver broke,<br /> When down her weedy trophies and herself<br /> Fell in the weeping brook. Her clothes spread wide;<br /> And, mermaid-like, awhile they bore her up;<br /> Which time she chanted snatches of old tunes; As one<br /> incapable of her own distress,<br /> Or like a creature native and indu’d<br /> Unto that element: but long it could not be<br /> Till that her garments ,heavy with her drink,<br /> Pull’d the poor wretch from her melodious lay<br /> To muddy death.<br /> （shakespeare, hamlet, act Ⅳ, scenceⅦ）<br /> <br /> The translation of Liang Shiqiu：<br /> 河边有一株斜长着的杨柳，白叶倒映<br /> 在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，<br /> 扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯<br /> 洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去<br /> 挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入<br /> 呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会<br /> 儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像<br /> 是水下生长的动物似的；但是这情形没有多久，她的衣服湿<br /> 透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的<br /> 死所去了。<br /> <br /> ===Conclusion===<br /> The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. <br /> <br /> For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. <br /> <br /> By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.<br /> <br /> ===References===<br /> Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．<br /> <br /> Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)<br /> <br /> Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary]. 台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.<br /> <br /> Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.<br /> <br /> Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128.. <br /> <br /> Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.<br /> <br /> Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.<br /> <br /> Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．<br /> <br /> Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．<br /> <br /> Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004<br /> <br /> Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.<br /> <br /> Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001<br /> <br /> Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．<br /> <br /> Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.<br /> <br /> ==Descriptive translation studies 曹润鑫 Cao Runxin==<br /> <br /> ===Abstract===<br /> The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.<br /> <br /> ===Key words===<br /> Descriptive translation studies; Translation studies<br /> <br /> ===摘要===<br /> 描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍<br /> <br /> ===关键字===<br /> 描述翻译学；翻译研究<br /> <br /> ===Introduction===<br /> Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &quot;faithfulness&quot; and &quot;equivalence&quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.<br /> <br /> Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &quot;cultural shift&quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &quot;faithful&quot; and &quot;reciprocal&quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.<br /> <br /> In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &quot;how translation should be&quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.<br /> <br /> ===Tuli and ''Descriptive translation''===<br /> The concept of &quot;descriptive translation&quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &quot;The Name and Reality of Translation Studies&quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.<br /> <br /> Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.<br /> <br /> In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&quot;. [3]<br /> <br /> According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &quot;(more) objective&quot; norms, while the latter are &quot;(more) subjective&quot; i.e. &quot;less objective&quot;. The concept of the This concept is very important in its theoretical system.<br /> <br /> He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]<br /> <br /> According to Tuli, &quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.<br /> Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &quot;translations&quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent. &quot;Exoticism&quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &quot;translation tone&quot; in the text. Due to the real existence of &quot;translation cavity&quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &quot;translation cavity&quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.<br /> <br /> Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &quot;credible&quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112<br /> <br /> According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.<br /> <br /> Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.<br /> <br /> In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &quot;meta-prescriptive&quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &quot;translation studies can never be merely descriptive&quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.<br /> <br /> === Hermanns and ''Translation in Systems''===<br /> The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.<br /> <br /> Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &quot;norm&quot; and Chesterman's &quot;norm&quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.<br /> <br /> The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &quot;reciprocity&quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &quot;norm&quot; and introduces the &quot;norm&quot; proposed by Tully and the &quot;norm&quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.<br /> <br /> Scholars who study descriptive translation have proposed that literature should be regarded as &quot;a complex and dynamic system&quot;, and that literary translation studies should &quot;adopt a descriptive, target-language-based, functional and systematic research approach&quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.<br /> <br /> ===Conclusion===<br /> Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.<br /> <br /> ===References===<br /> [1]李红满.论当代西方翻译研究范式的转变[J].外语与翻译, 2002 (2) .<br /> <br /> [2]张美芳.翻译学的目标与结构——霍姆斯的译学构想介评[J].中国翻译, 2000 (2) .<br /> <br /> [3]Toury, Gideon.Descriptive Translation Studies and Beyond[M].Shanghai:Shanghai Foreign Language Education Press, 2001.<br /> <br /> [4]林克难.翻译研究:从规范走向描写[J].中国翻译, 2001 (6) .<br /> <br /> [5]Vermeer, Hans J.A Skopos Theory of Translation[M].Heidellburg:TEXT-con, 1996.<br /> <br /> [6]Venuti.Lawrence.The Translator’s Invisibility[M].A History of Transla-tion.London&amp;New York:Routledge, 1995.<br /> <br /> [7]Snell-Homby, Mary.Translation Studies.AnIntegrated Approach[M].Re-vised ed.Amsterdam:John Benjamins, 1995.<br /> <br /> [8]Hemans, Theo, ed.The manipulation of Literature[M].London&amp;Sydney:Croom Helm, 1985.<br /> <br /> [9]韩子满, 刘芳.描述翻译研究的成就与不足[J].外语学刊, 2005 (3) .<br /> <br /> [10]谢天振.翻译研究新视野[M].青岛:青岛出版社, 2003.<br /> <br /> [11]张南峰.从梦想到现实——对翻译学科的东张西望[J].外国语, 1998 (3) .<br /> <br /> <br /> ==Translation Strategies== Sagara Seydou , Student No :201911080004, Major ;Translation Studies <br /> Translation Strategies <br /> Abstract <br /> Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.<br /> <br /> Key words: translation strategies and translational problems.<br /> <br /> This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;<br /> Introduction<br /> The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers define them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical significance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)<br /> <br /> Content<br /> Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classifications from different perspectives. For example, Lörscher’s (1991) classification is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classifications. It seems that clear-cut definitions of these terms might not work as well as prototype definitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)<br /> The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reflect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reflects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)<br /> <br /> The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp fiction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp; Munday,2004, p. 230)<br /> Having discussed the two prototype strategies, let us turn to the definitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few defining characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difficulty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).<br /> Problems, according to their scale, can be divided into global (or general) problems and local (or specific) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “specific activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle specific problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by specific techniques, which affect the translation result and the micro-units of the text, and are classified by comparison with the source text (Molina &amp; Hurtado Albir, 2002, p. 509).<br /> As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural filtering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.<br /> However, this is not consonant with the dictionary definitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is defined as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) defines translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will influence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identified the following text processing strategies: (a) problem identification, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal significant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can find out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280). Darwish (2008) identifies four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70).<br /> However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might influence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difficulty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.<br /> <br /> Conclusion<br /> In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.<br /> References<br /> Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp; J. Laffling(Eds.), Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 07:56, 17 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=History_of_Translation_Studies_10&diff=113466 2020-12-17T07:43:20Z

<p>Sagara Seydou 3: /* Translation Strategies - Sagara Seydou */</p> <hr /> <div>这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> *Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> *Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]<br /> *Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].<br /> ='''Functional Equivalence'''=<br /> <br /> <br /> == On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==<br /> <br /> ===Abstract===<br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.<br /> <br /> ===key words===<br /> <br /> functional equivalence, formal equivalence, translation<br /> <br /> ===摘要===<br /> 翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。<br /> <br /> ===关键字===<br /> 功能对等，形式对等，翻译<br /> <br /> ===Introduction===<br /> <br /> As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. <br /> <br /> Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.<br /> <br /> ===Functional Equivalence===<br /> In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)<br /> <br /> Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). <br /> <br /> To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. <br /> Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.<br /> <br /> ===Formal equivalence===<br /> <br /> Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） <br /> <br /> Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.<br /> <br /> ===Relationship between functional equivalence and formal equivalence===<br /> In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.<br /> <br /> For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.<br /> <br /> Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.<br /> <br /> Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.<br /> <br /> Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.<br /> <br /> ===Application of functional equivalence and functional equivalence in translation===<br /> <br /> Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.<br /> <br /> ====Lexical equivalence====<br /> <br /> Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.<br /> <br /> Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. <br /> <br /> It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. <br /> “When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”<br /> In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.<br /> <br /> ====Syntax equivalence====<br /> <br /> Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: <br /> “Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”<br /> Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。<br /> <br /> We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.<br /> When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. <br /> There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:<br /> “You’re not a student,are you?”<br /> “Yes, I am.” <br /> Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.<br /> <br /> ====Texual equivalence====<br /> <br /> Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. <br /> <br /> Example: “祥子！”她往前凑了凑：“我有啦！” <br /> “有了什么？”他一时蒙住了。<br /> “这个！”她指了指肚子。“你打主意吧！”<br /> Translation: “Xiangzi,” she came closer. “I am in trouble!”<br /> “What trouble?” He was startled.<br /> “This!” She pointed her belly. “What was you going to do about it?”<br /> According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.<br /> <br /> In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner connotation it bears. <br /> Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. <br /> Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.<br /> <br /> The last element we should never ignore is cultural context given that there are great cultural differences between English and Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.<br /> Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.<br /> We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.<br /> <br /> ====Stylistic equivalence====<br /> <br /> Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.<br /> Example: 清明<br /> 杜牧<br /> 清明时节雨纷纷，路上行人欲断魂。<br /> 借问酒家何处有? 牧童遥指杏花村。<br /> Translation by Wu Juntao:<br /> The Pure Brightness Day<br /> By Du Mu<br /> It drizzles thick and fast on the Pure Brightness Day,<br /> I travel with my heart lost in dismay.<br /> “Is there a public house somewhere, cowboy?”<br /> He points at Apricot Village faraway.<br /> <br /> In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..<br /> Translation by Xu Yuanchong:<br /> The Mourning Day<br /> By Du Mu<br /> A drizzling rain falls like tear on the Mourning Day;<br /> The mourner’s heart is going to break on his way.<br /> Where can a wineshop be found to drown his sad hours?<br /> A cowherd points to a cot ’mid apricot flowers. <br /> <br /> In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.<br /> <br /> ===Conclusion===<br /> <br /> Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation. <br /> <br /> Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)<br /> <br /> ===References===<br /> <br /> Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.<br /> <br /> Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.<br /> <br /> Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．<br /> <br /> Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.<br /> <br /> Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.<br /> <br /> Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &quot;Faithfulness, Expressiveness and Elegance&quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.<br /> <br /> Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.<br /> <br /> Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.<br /> <br /> Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.<br /> <br /> Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.<br /> <br /> 尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．<br /> <br /> Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).<br /> <br /> UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．<br /> <br /> == My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==<br /> <br /> == Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==<br /> &lt;center&gt;肖茜 Xiao Xi No.202020080654&lt;/center&gt;<br /> ===Abstract===<br /> Hao Jingfang's science fiction &quot;Folding Beijing&quot; won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu's rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of the theory of Nida's functional equivalence to &quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&quot;. The theory of Nida's functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu's application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.<br /> <br /> ===Key words===<br /> Functional Equivalence; Folding Beijing; meaning; style; culture<br /> <br /> ===题目===<br /> 刘宇昆翻译中的功能对等-以《北京折叠》为例<br /> ===摘要===<br /> 郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。<br /> <br /> ===关键词===<br /> 功能对等；《北京折叠》；意义；风格；文化<br /> <br /> ===Introduction===<br /> In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.<br /> <br /> This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers' understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida's functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.<br /> <br /> ===1. Eugene A. Nida and His Theory of Functional Equivalence===<br /> <br /> Eugene A. Nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work Toward a Science of Translating. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers' response, not just the equivalence of content and form. In his book The Theory and Practice of Translation, Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida's dynamic equivalence theory requires that the translation readers' response to the translation should be consistent with that of the original readers. <br /> <br /> Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &quot;The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers did&quot; (Nida 1993:118). <br /> <br /> In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the receptor-language reader's response, (3) the receptor language and culture as a whole. Nida defined the reader's response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader's response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.<br /> <br /> ===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===<br /> <br /> ====2.1 Functional Equivalence from Aspect of Meaning====<br /> <br /> Nida and Taber (2004：12) stated that &quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&quot; Meaning in this chapter will from three levels to discuss: words, sentences and passages, in other words, these three levels is a detailed analysis of the lexicon, syntax and discourse. According to the functional equivalence theory, translation should not only achieve literal equivalence, but also discover the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in the translation of Folding Beijing from lexical, syntactic and discourse perspectives.<br /> <br /> =====2.1.1 Lexical level=====<br /> <br /> In literary translation, how to correctly interpret the meaning of a word or phrase is always a difficult problem. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is most appropriate. In the English translation of Folding Beijing, there are many examples to illustrate how the translation achieves functional equivalence with the source text in the lexical level as follows:<br /> <br /> Example 1:<br /> “食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）<br /> <br /> &quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&quot; (Ken Liu 2015)<br /> <br /> Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &quot;the plastic tables at the food hawker stalls&quot; for readers to understand. &quot;Sour and spicy powder&quot; is originally a kind of Chinese noodles. The author uses &quot;hot and sour rice noodles&quot; to describe the taste of sour and spicy and the raw material of noodles is rice.<br /> <br /> Example 2:<br /> “这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）<br /> <br /> &quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&quot; (Ken Liu 2015)<br /> <br /> The translator uses &quot;a toothpick dangling between his lips&quot; to describe the action of picking teeth，it's more detailed and vivid. “懒散不修边幅” is translated into &quot;lazy and slovenly&quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &quot;the appearance of being perpetually grumpy&quot;, in this way, the translation better expresses the author's intention to express the meaning of looking bad-tempered. <br /> <br /> Example 3:<br /> “霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）<br /> <br /> &quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&quot; (Ken Liu 2015)<br /> <br /> The author did not translate directly “闪烁的小灯” into &quot;the little flashing lights &quot;, but &quot;Tiny flashing LEDs&quot;. This is also because of the translator's own understanding of the text, he wants the readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &quot;lapi&quot;, which is to show the original meaning.<br /> <br /> =====2.1.2 Syntactic Level=====<br /> <br /> Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese. The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, conjunctions and relationship between words in English use frequency is very high. Secondly, English speakers put attention on object consciousness and used to the order from a small object to a large one, from specific to general; In Chinese texts, there is usually a temporal, spatial or causal sequence of time sequence. Finally, English language usually emphasizes important information at the beginning of a sentence, while the Chinese language tends to process information from the obsolete to the fresh for the purpose of impressing people.<br /> <br /> In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a proper form. The following are some examples to show that how English translation oh Folding Beijing achieves functional equivalence to the original text in syntactic level: <br /> <br /> Example 1:<br /> “ ‘现在政府太混沌了，做事太慢，僵化，体系也改不动。’他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。’他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’” （Jingfang Hao 2016:15）<br /> &quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&quot; (Ken Liu 2015)<br /> We can see that in the translation of this paragraph, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the readers have supplemented and translated this sentence into &quot;I'll also work to expand the pool of candidates for government service and promotion&quot;, The translator perfectly explains what &quot;放开&quot; means.<br /> <br /> Example 2:<br /> “昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）<br /> <br /> “Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) <br /> <br /> In this passage, the text refers to “过去” twice with emphasis. In order to achieve the same emphasis in the English translation, the author chose to adjust the word order, placing &quot;In the dim lamplight&quot; between the two sentences, rather than using a subordinate clause like &quot;…childhood that…&quot;.<br /> <br /> Example 3:<br /> “再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）<br /> <br /> &quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&quot; (Ken Liu 2015)<br /> <br /> In this passage, we can see clearly that English has many more conjunctions than Chinese, like &quot;as though&quot;, &quot;from where&quot; and &quot;that&quot;, this is because of the difference in syntax between the two languages.<br /> <br /> =====2.1.3 Discourse level=====<br /> <br /> Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &quot;rewrite&quot; to make the translated text acceptable to readers. In literary translation, the translator should pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in the level of discourse. The following part selects a dialogue and its English translation in Folding Beijing as an example of literary translation to achieve functional equivalence in discourse level.<br /> <br /> “所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”<br /> <br /> 老刀没有动筷子。他很饿，可是他觉得这时不能吃。<br /> <br /> “可是这等于我也得撒谎。”<br /> <br /> 依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)<br /> <br /> &quot;And so&quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&quot; <br /> <br /> Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.<br /> <br /> &quot;Then I'd be lying, too,&quot; Lao Dao said.<br /> <br /> Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &quot;Please accept this token of my appreciation.&quot; (Ken Liu 2015)<br /> <br /> The conversational habits in Chinese are different from those in English, so some adjustments are often made when translating. The form of the dialogue is not completely translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”translated into &quot;spooned a serving of the new hot dish&quot;, the translator changed the action to &quot;spoon&quot;, which is more suitable for Yi Yan's identity image, it is more suitable as a girl in the first space to spoon the vegetables to Lao Dao. “推给老刀”translated into &quot;She pushed them across the table toward Lao Dao&quot;, this sentence adds some action to make it more pictorial.<br /> <br /> ====2.2 Functional Equivalence from Aspect of Style====<br /> <br /> Every writer has his own writing style, and no one can imitate it perfectly. That is to say, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows the language characteristics, and the English translation can also see that the translator tries to achieve the functional equivalence on the stylistic level.<br /> <br /> =====2.2.1 Rhetoric=====<br /> <br /> First of all, rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form and is a counterpart of dialectic. The use of rhetoric can create vivid images, vivid scenes, improve the effect of literature.<br /> <br /> Example 1:<br /> 老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)<br /> <br /> &quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&quot; (Ken Liu 2015)<br /> <br /> In this passage, the original text compares a hungry stomach to an abyss, and the English translation also uses this metaphor to form a rhetorical functional equivalence.<br /> <br /> Example 2:<br /> 不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)<br /> &quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&quot; (Ken Liu 2015)<br /> <br /> In this paragraph, it is a metaphor, and the words &quot;西山&quot; and &quot;孤&quot; in the original text are not translated, only translated into &quot;an island in the sea&quot;, this description is enough to show the image of a folded city.<br /> <br /> Example 3:<br /> 高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)<br /> <br /> &quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&quot; (Ken Liu 2015)<br /> <br /> It has a personification in this paragraph, &quot;skyscrapers&quot; have &quot;heads, feet, necks and arms&quot;, and &quot;like the humblest servants&quot;, the use of rhetoric enables people to imagine the folding picture of the city through the human image. By comparing the building to a herd of beasts, it shows its size and the sense of fear and oppression it brings.<br /> <br /> Example 4:<br /> 直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)<br /> <br /> &quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&quot;(Ken Liu 2015)<br /> <br /> In this sentence, although &quot;怪胎&quot; translate into &quot;monster&quot;, the &quot;生&quot;express also the same meaning, so the translator does not struggle.<br /> <br /> =====2.2.2 Dialects=====<br /> <br /> Dialect embodies the local characteristics, is the author's own writing style. Sometimes it's a problem in translation. In the following example, we can see how the translator handles this problem.<br /> <br /> For example, &quot;伙计&quot; in English &quot;waiter&quot; ,&quot;铺盖卷&quot; in English &quot;bedrolls&quot; ,&quot;闺女&quot;is translated as &quot;real daughter&quot; ,&quot;她们认死理儿&quot; is translated as &quot;they don't know how to be flexible&quot;,&quot;只是这么多年过来，人就木了.&quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.<br /> <br /> In short, whether the use of rhetoric or dialect in literature, can fully reflect the author's writing style. Therefore, in literary translation, the translator should study the differences between the source language and the target language in the ways to express stylistic differences, and find out the best way to make up for these differences. In this way, literary translation can achieve maximum functional equivalence at the stylistic level.<br /> <br /> ====2.3 Functional Equivalence from Aspect of Culture====<br /> <br /> In the process of translation, the cultural difference between the two languages is also an issue that translators should pay attention to. People who come into contact with different cultures have different ways of thinking, values and social customs and so on. Translators need to understand the two cultures and fully express the cultural elements contained in the original text. At this time, translation plays a role in cross-cultural communication. The translator must present the cultural meaning shown or implied in the original text to the readers so that the translation can achieve the cultural equivalence with the original text. In this chapter, we will analyze the English translation of Folding Beijing from the perspective of food culture, folk culture and culture of idioms, so as to explain how it achieves the functional equivalence with the original text.<br /> <br /> =====2.3.1 Food Culture=====<br /> <br /> The city described by Beijing Folding is the political and cultural center of China, and it is a city with profound cultural deposits. There are a lot of contents belonging to traditional Chinese food culture in the novel. This part will analyze how the translator translates these delicacies to achieve functional equivalence.<br /> <br /> Example 1:<br /> &quot;…面前摆着一盘炒面或炒粉… &quot;(Jingfang Hao 2016:2)<br /> <br /> &quot;Each kid had a plate of chow mein or chow fun…&quot; (Ken Liu 2015)<br /> <br /> &quot;炒面&quot;is a well-known traditional snack in China. The translator makes it into &quot;chow mein&quot;, rather than &quot;Chinese stir-fried noodles&quot;. In the dictionary, &quot;chow mein&quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also makes it more intuitive for the reader to know what the food is.<br /> <br /> Example 2:<br /> &quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&quot;(Jingfang Hao 2016:32)<br /> <br /> &quot;…over a half bottle of baijiu…&quot; (Ken Liu 2015)<br /> <br /> The foreignizing translation is adopted here, &quot;白酒&quot; is translated into &quot;baijiu&quot; , the translator doesn't use the word like &quot;spirits&quot;, it not only retains Chinese cultural characteristics, but also achieves communicative effect.<br /> <br /> Example 3:<br /> &quot;哎，你们知道那儿一盘回锅肉多少钱吗？&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…how much they charge for an order of twice -cooked pork over there?&quot; (Ken Liu 2015)<br /> <br /> The special feature of this dish is that it is boiled in water and then stir-fried. The translator captures this feature in the translation, trying to make people understand the meaning of &quot;回锅&quot;, and this dish is made with pork, he wants readers of the English translation to see an image of the dish in their heads in the same way that Chinese people do.<br /> <br /> =====2.3.2 Folk Culture=====<br /> <br /> Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.<br /> <br /> Example 1:<br /> &quot;…几个人分吃两个菜…&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…and they shared two dishes family-style.&quot; (Ken Liu 2015)<br /> <br /> &quot;分吃&quot; is the most common way of eating in traditional Chinese culture, where several dishes are shared among friends and family. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he use the word &quot;shared&quot; and he add the word &quot;family-style&quot; to make it easier for the reader to understand the behavior. <br /> <br /> Example 2:<br /> &quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&quot;(Jingfang Hao 2016:27)<br /> <br /> &quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&quot; (Ken Liu 2015)<br /> <br /> The culture of hometown is a major feature of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &quot;老乡&quot; from a geographical perspective. &quot;管事儿&quot;means to have some authority. The translator also explains this word so that readers can understand it easily.<br /> <br /> Example 2:<br /> &quot;一点心意，你收下。&quot; (Jingfang Hao 2016:23)<br /> <br /> &quot;Please accept this token of my appreciation.&quot;(Ken Liu 2015)<br /> <br /> In this passage, Yi Yan said that she hoped Lao Dao could help her keep a secret, so she wanted to give Lao Dao with money. &quot;心意&quot; means money, which is a euphemism used in China when it is inconvenient to offer money directly. In the translation, the translator also considered a euphemistic way of expression, so he used the word &quot;appreciation&quot;.<br /> <br /> =====2.3.3 Culture of Idioms=====<br /> <br /> Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.<br /> <br /> The author used many idioms in the article, such as &quot;饿虎扑食&quot;, the translator translated it into &quot;ate heartily&quot;, although the translation is easy to understand, but without the image that people are very hungry to eat, from the perspective of functional equivalence, English readers seem to be unable to reach the same level of understanding and response as Chinese readers. And &quot;（盘子）一片狼藉&quot;translated into &quot;The dishes were a mess&quot;, it is a brief description of the mess. And &quot;成人之美&quot; translated into &quot;in that case I'll have done a good deed by keeping silent&quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he was keeping secrets and that Yi Yan and Qin Tian might get together in the future. The translator abstractly translated the sentence in the English translation.<br /> <br /> ===Conclusion===<br /> <br /> From the analysis of the English translation of Folding Beijing from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of Folding Beijing to the English reader.<br /> <br /> Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is essentially the same as that of the source language readers, so the target language can be regarded as a functional equivalence translation. Analyzed from three aspects: meaning, style and culture &quot;Beijing fold&quot; English version, you can see on the language, while Chinese and English in logic and grammar are greatly different, there exist many differences in the Chinese culture and western culture, but the translator still tries his best to keep the content of the original text in the translation and find more appropriate words. In terms of some specific content, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction, which is of great value.<br /> <br /> ===References===<br /> <br /> [1] Hao Jingfang. Folding Beijing [J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy, 2015.<br /> <br /> [2] Nida, Eugene A. Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press,1993<br /> <br /> [3] Nida, Eugene A. Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001<br /> <br /> [4] Nida, Eugene A. &amp; Taber, Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2004<br /> <br /> [5] 郝景芳.孤独深处[M].南京：江苏凤凰文艺出版社，2016：1-40<br /> <br /> [6] 谭载喜.新编奈达论翻译[M].北京：中国对外翻译出版公司，1999<br /> <br /> [7] 许钧，穆雷.翻译学概论[M].南京：译林出版社，2009<br /> <br /> [8] 赵丹丹.浅论奈达的功能对等理论[J].文学教育，2011<br /> <br /> [9] 周兴阳.从功能对等理论视角看《北京折叠》英译本研究[J].新疆大学，2018<br /> <br /> [10] 王桂圆.系统功能语言学视角下《北京折叠》英译研究[J].海外英语，2018<br /> <br /> ==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==<br /> ===Abtract===<br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. <br /> ===Key Words===<br /> Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong<br /> ===题目 ===<br /> 功能对等理论下余光中译《不可儿戏》分析<br /> ===摘要===<br /> The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。<br /> ===关键词===<br /> 功能对等；《不可儿戏》；余光中<br /> ===Introduction===<br /> The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.<br /> <br /> “The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.<br /> <br /> ===An Introduction of Functional equivalence===<br /> ====The Definition of Functional Equivalence====<br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.<br /> <br /> ====Three Steps of Translation====<br /> Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.<br /> <br /> Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.<br /> <br /> Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.<br /> <br /> ===''The Importance of Being Earnest'' and Its Chinese Versions===<br /> ====An Introduction of Oscar Wilde and His Works====<br /> Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014). <br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.<br /> <br /> As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.<br /> <br /> ====Chinese Versions of The Importance of Being Earnest====<br /> =====An Overview of Its Chinese Versions =====<br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts.<br /> <br /> In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006). Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.<br /> <br /> =====Yu Guangzhong and His Chinese Version=====<br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.<br /> <br /> He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.<br /> <br /> ===The Application of Functional Equivalence to Yu Guangzhong’s Version===<br /> ====Translation Strategies of Yu Guangzhong’s Version==== <br /> =====Translation of the Drama Title=====<br /> So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).<br /> <br /> “Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”(Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference.<br /> <br /> =====Translation of Characters’ Names=====<br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration. <br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. In Chinese, “任真” and “认真” are homonyms，like the English homonyms. Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. He translated the pun in English into the pun in Chinese. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English. It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience of the drama will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. <br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.<br /> <br /> Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. When the audience heard of “梁勉仁”, they would realize that Algernon was a double-faced person at once. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, they expressed the same meaning that the person who named like that was double-faced, so the function of the original and the target language are the same. We guess that if Wilde writes this play in Chinese, he may use the same expression as Yu Guangzhong. Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality. <br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning of the source language.<br /> <br /> =====Translation of Characters’ Dialogues=====<br /> Allusions refer to the stories or words and sentences in ancient books quoted in poems; idioms refer to the fixed and customary expressions in a language, including proverbs, slang, catchphrase, lexical phrase, habitual collocation, restricted collocation, and etc. “There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.<br /> <br /> ======Alliteration======<br /> &quot;Many English allusions and idioms are used in Wilde’s plays&quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.<br /> <br /> (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just in order to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” in this dialogue actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.It is hard to translate alliteration in the target language. In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. In this example, he employed rhetorical devices in Chinese to replace alliteration. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”<br /> .<br /> (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The form of the sentence has changed, while the meaning remained. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence”<br /> <br /> ======Paradox======<br /> (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor <br /> husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)<br /> 巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)<br /> Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ manners and thoughts and the bourgeois society of his time, Victorian era.In the above example, Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while Lady. Bracknell says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox. After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.<br /> <br /> (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?<br /> CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for <br /> publication. (Wilde, 2009)<br /> 亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?<br /> 西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)<br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot;(Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text.<br /> <br /> ======Antithesis======<br /> <br /> (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)<br /> 亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)<br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul. <br /> <br /> (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)<br /> 劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)<br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married. In order to persuade him, she compared the two reasons of not getting married. &quot;The former is understandable, while the latter is incomprehensible&quot;(Wen Tong, 2012). In example 6, Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.<br /> <br /> ====Suggestions on Translation from Yu Guangzhong’s Version====<br /> Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works. <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why The Importance of Being Earnest becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original. <br /> <br /> The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs. For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers.<br /> In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice.<br /> <br /> ===Conclusion===<br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies. One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.<br /> <br /> ===References===<br /> Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.<br /> <br /> Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.<br /> <br /> Eugene A. Nida &amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.<br /> <br /> Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.<br /> <br /> Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.<br /> <br /> Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.<br /> <br /> Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.<br /> <br /> Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.<br /> <br /> Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.<br /> <br /> Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.<br /> <br /> Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.<br /> <br /> Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.<br /> <br /> Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.<br /> <br /> Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.<br /> <br /> Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.<br /> <br /> Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.<br /> <br /> Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.<br /> <br /> Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> =Applicaton of Translation Theories=<br /> ==Study of Application of Interpretive Theory in Interpretation 韩宛真 Han Wanzhen 202020080603== <br /> <br /> ===Abstract===<br /> With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. <br /> <br /> With the development of economic globalization,exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand.The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice. Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:58, 16 December 2020 (UTC)<br /> ===Key words===<br /> interpretive theory; interpretation,; translation strategies<br /> <br /> ===题目===<br /> 释意理论指导下的口译<br /> <br /> ===摘要===<br /> 随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。<br /> <br /> ===关键词===<br /> 释意理论；口译；翻译策略<br /> <br /> ===1.Introduction===<br /> In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.<br /> <br /> ===1.1 Introduction of Interpretive Theory===<br /> The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. <br /> <br /> The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)<br /> <br /> The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &quot;meaning&quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.(Kong Shaohui 2009, 127)<br /> <br /> Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &quot;implied meaning&quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. <br /> <br /> Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.<br /> <br /> The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can<br /> understand:The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &quot;thought that has not been expressed in words&quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.<br /> <br /> The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &quot;de-verbalization&quot;. Adding the process of breaking away from the language<br /> shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.<br /> <br /> The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.<br /> In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)<br /> <br /> ===1.2 Introduction of Interpretation===<br /> Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.<br /> Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.<br /> <br /> There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &quot;lightning thinking&quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &quot;simultaneous interpretation&quot; is almost impossible). (Ouyang Changyi 2010)<br /> <br /> Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &quot;simultaneous interpretation is a half-expert in any field.&quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)<br /> <br /> ===2. Literary Review===<br /> No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.<br /> <br /> ===2.1 The Research on Interpretive Theory===<br /> Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.<br /> <br /> The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &quot;interpretive&quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. <br /> <br /> At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. <br /> <br /> Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.<br /> <br /> It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.<br /> <br /> ===2.2 The Research on Interpretation under the Guide of Interpretive Theory===<br /> Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. <br /> <br /> With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.<br /> <br /> First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &quot;One Belt One Road&quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &quot;Black Technology&quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.<br /> <br /> On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.<br /> The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.<br /> <br /> ===3.Translation Strategies based on Interpretive Theory===<br /> Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.<br /> Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> ===3.1 Free Translation===<br /> The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。<br /> Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.<br /> &quot;而立之年&quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.<br /> 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。<br /> Translation: FOCAC is a valuable asset for China and Africa.<br /> &quot;金字招牌&quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.<br /> <br /> ===3.2 Addition of Message===<br /> Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。<br /> Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.<br /> In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.<br /> 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。<br /> Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.<br /> From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.<br /> <br /> ===3.3 Positive and Negative Translation===<br /> <br /> As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:<br /> 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。<br /> Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.<br /> The sentences in the source text are all expressed by the negative &quot;cannot&quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.<br /> 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。<br /> Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.<br /> The source text is a negative sentence containing the negative “cannot&quot; when translated into English. The translator is telling the truth, the translation is &quot;at least&quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.<br /> <br /> ===Conclusion===<br /> In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.<br /> <br /> The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.<br /> The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)<br /> <br /> The interpretive theory is the hypothesis of &quot;beyond the shell of the source language&quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &quot;out of&quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)<br /> <br /> In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &quot;departure from the source language&quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&quot;(Lederer 2001, 45-50)<br /> <br /> ===References===<br /> *Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &quot;Interpretive theory.&quot;: 1. <br /> <br /> *Dougherty, Ray C. (1969). &quot;An interpretive theory of pronominal reference.&quot; Foundations of Language: 488-519.<br /> <br /> *Gong Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.<br /> <br /> *Jackendoff, Ray S. (1969). &quot;An interpretive theory of negation.&quot; Foundations of language: 218-241.<br /> <br /> *Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.<br /> <br /> *Lederer Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.<br /> <br /> *Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.<br /> <br /> * Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.<br /> <br /> * Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]<br /> <br /> * Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.<br /> <br /> *Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.<br /> <br /> *Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.<br /> <br /> ='''Theory and Practise'''=<br /> <br /> <br /> ==The Development of Translation in Chinese Buddhist Scriptures 陈佳欣 Chen Jiaxin==<br /> <br /> ===Abstract===<br /> The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.<br /> <br /> ===Keywords ===<br /> Buddhist scriptures, Translation, Literal translation, Free translation<br /> <br /> ===摘要===<br /> 佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。<br /> <br /> ===关键词===<br /> 佛经，翻译，直译，意译<br /> <br /> ===Introduction===<br /> Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time. About the first century AD Buddhism entered China along trade routes from Central Asia. Thus, the translation of Buddhist scriptures came into being. Buddhism was widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.<br /> <br /> During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the form similarity and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. “The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation” (Sun Shanshan 2014, 174).<br /> <br /> In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three period. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposed that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposed to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang held that translation “must be truthful and intelligible to the populace”.<br /> <br /> === The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===<br /> The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.<br /> <br /> ==== An Shigao ====<br /> An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He totally translated 35 Buddhist Scriptures, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).<br /> <br /> ==== Zhi Chen ====<br /> Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. <br /> <br /> ==== Zhi Qian ====<br /> Zhi Qian, also known as Zhi Yue, is a Buddhist scripture translator during the Three Kingdoms period. He is the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignore the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. <br /> <br /> (2)The mainstream translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures. On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore then can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.<br /> <br /> (3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.<br /> <br /> === the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===<br /> The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.<br /> <br /> ====Shi Daoan ====<br /> Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he is also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. <br /> <br /> “‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&quot;Three Difficulties in Translation&quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.<br /> <br /> The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.<br /> <br /> ==== Kumarajiva ====<br /> Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &quot; the first class master of translation&quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He is one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translates 39 volumes. He is proficient in both Chinese and Sanskrit languages, and advocates that as long as the translation does not violate the original meaning, there is no need to follow the original form. “Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &quot;geyi&quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992, 186). He argued that “geyi” is the culprit of the deformation of India Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25). <br /> <br /> Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness. Another remarkable achievement is his contribution to the translation workshop. After he arrived Chang'an, he began to organize translation workshops. Under his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).<br /> <br /> (2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads）are usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China，translators can take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there are more Sanskrit texts, they have more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.<br /> <br /> (3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.<br /> <br /> (4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).<br /> <br /> === Tang Dynasty ===<br /> The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously. In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age is Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.<br /> <br /> ==== Xuang Zang ====<br /> Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &quot; Sanzang Rabbi.&quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses, the number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).<br /> <br /> In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &quot;Doroni&quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &quot;bhaga&quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &quot;jumbu tree&quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &quot;Aunt Bodhi&quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &quot;prajna&quot; respect, &quot;wisdom&quot; is light and shallow. “The word &quot;Untranslatable&quot; here does not mean not translating, but rather &quot;not intended to translate&quot;, using transliteration”( Jian Xue 2018, 28).<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translators are mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also has a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who are proficient in Sanskrit has gradually increased, and the translation work does not need to turn to foreign monks.<br /> <br /> (2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation programs possible.<br /> <br /> (3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty is more all-sided in organization. “According to records, The translation workshop of the Tang Dynasty has as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them are rabbis appointed by the court.<br /> <br /> (4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.<br /> <br /> (5) The translation scripts are more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believes that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.<br /> <br /> === The Influence of the Translation of Buddhist Scriptures ===<br /> The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> The influence of Buddhist scripture translation on Chinese is mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.<br /> <br /> “In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&quot;, &quot;Sutra” etc; some are words that we don’t realize, such as &quot;memory&quot;, &quot;world&quot;, &quot;now&quot;, &quot;causality&quot;, &quot;attachment&quot;, &quot;emptiness&quot;, &quot;reality&quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).<br /> <br /> The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to be the main motive.<br /> <br /> In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.<br /> <br /> === Conclusion ===<br /> The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.<br /> <br /> The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.<br /> The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation<br /> <br /> === References ===<br /> Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223<br /> <br /> Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308<br /> <br /> Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.<br /> <br /> Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University <br /> <br /> Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.<br /> <br /> Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.<br /> <br /> Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. <br /> <br /> Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press<br /> <br /> Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &quot;Five Losses of Source Texts and Three Difficulties in Translation&quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.<br /> <br /> WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.<br /> <br /> Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.<br /> <br /> Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.<br /> <br /> He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.<br /> <br /> Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.<br /> <br /> Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.<br /> <br /> Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.<br /> <br /> ==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts'' 成于思 Cheng Yusi 202020080598 ==<br /> <br /> ==='''Abstract'''===<br /> André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the paper is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the paper will make a comparison of these two books to deepen readers' understanding of them.<br /> <br /> ===Key words===<br /> André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative Study of Chinese and Western Translation Principles'', “cultural turn”, John Dryden, translation principles<br /> <br /> ===题目===<br /> 《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析<br /> <br /> ===摘要===<br /> 安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。<br /> <br /> ===关键词===<br /> 安德烈·勒菲弗尔,《翻译，历史和文化论集》，刘宓庆，《中西翻译思想对比研究》，文化转向，约翰·德莱登，翻译原则<br /> <br /> ===1.Introduction===<br /> This paper presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, this paper is intended to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This paper will be divided into three parts.<br /> <br /> In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden compares a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014). Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.<br /> <br /> In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72). Finally, the author will show some scholars’ appraisals of this book.<br /> <br /> In part three, it intends to give a brief comparison of these two books in contents and forms.<br /> <br /> All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.<br /> <br /> ===2. Analysis of ''Translation, History and Culture: A Sourcebook''===<br /> <br /> ''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&quot;(Munday 2016,199). As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &quot;cultural turn&quot; of translation proposed by Translation Studies. <br /> <br /> In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &quot;a rewriting of an original text&quot;. Here, they explained that &quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&quot; (Lefevre 2003, xi). According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. <br /> <br /> In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii). <br /> <br /> Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &quot;cultural turn&quot;. The &quot;cultural turn&quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &quot;cultural turn&quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)<br /> <br /> If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &quot;cultural turn&quot;, Translation, History and Culture: A Sourcebook, with abundant case studies, is proved to be a good illustration of their thoughts. <br /> <br /> The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)<br /> <br /> I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. <br /> <br /> I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&quot;. (Lefevere 2003, 47). <br /> <br /> In this part, I will analyze John Dryden's three types of translation and his comparison of &quot;author and translator&quot; to &quot;master and slave&quot; through the excerpts collected in Translation, History and Culture: A Sourcebook. (Lefevere 2003, 24;102-105).<br /> <br /> Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2). The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &quot;author and translator&quot; to &quot;master and slave&quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii). Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.<br /> <br /> Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102).<br /> <br /> In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). <br /> <br /> Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating the poem in such a way is like &quot;dancing on ropes with fettered legs&quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103).<br /> <br /> Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&quot;.(Lefevere 2003, 103). <br /> <br /> As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103).<br /> <br /> Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. &quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&quot;.(Lefevere 2003, 104).<br /> <br /> It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &quot;he may stretch his chain to such a latitude&quot;.(Lefevere 2003, 105). In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. <br /> <br /> Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019).<br /> <br /> However, in Chapter Two, in &quot;Dedication&quot; to his translation of the Aeneid, Dryden argued that &quot;We are bound to our author's sense, though with the latitudes already mentioned&quot;.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. &quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&quot; (Lefevere 2003, 24). <br /> <br /> Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies. (Niu Yunping, 2014). <br /> <br /> A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &quot;classical writers&quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014).<br /> <br /> Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73). <br /> <br /> About the value of this book, Translation, History and Culture: A Sourcebook is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii).<br /> <br /> ===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===<br /> <br /> In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &quot;Sixiang&quot; (&quot;thought&quot; in Chinese) refers to &quot;principle&quot; in the West in this book. (Liu Miqing 2005, 2). <br /> <br /> In the FAQ passage, the author explained why he wrote this book. &quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&quot;(Liu Miqing 2005, i). It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. <br /> <br /> Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)<br /> <br /> The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33). <br /> <br /> He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43).<br /> <br /> The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39).<br /> <br /> Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150).<br /> <br /> Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &quot;emphasis on meaning&quot; and establish a new concept of &quot;emphasis on the meaning in communication&quot; (Liu Miqing 2005,179). <br /> <br /> The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288).<br /> <br /> However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288).<br /> <br /> Finally, Liu points out that western translation theory is &quot;technology-oriented&quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293).<br /> <br /> The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &quot;translation and language game&quot;, Liu puts forward that &quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402).<br /> <br /> Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i). This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44).<br /> <br /> Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflects the integration of religion and politics in foreign countries. (Liu Miqing 2005,44). For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987).<br /> <br /> Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &quot;all is vanity&quot;, &quot;being detached from worldly affairs&quot; and &quot;obedience&quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987). <br /> <br /> In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still touched by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46). <br /> <br /> As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but cleared the way to economic growth as well. Meanwhile, integrated translation paved the way for European integration. (Liu Miqing 2005, 101). <br /> <br /> The second characteristic of the tradition of Chinese translation is &quot;regulation to perfection&quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51). <br /> <br /> The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101). Moreover, Western translation principles give priority to &quot;Communicative Translation&quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104). <br /> <br /> The third characteristic is &quot;the focus on meaning as well as aesthesis&quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52).<br /> <br /> Wang Guowei pointed out that the word &quot;Nao&quot; in the verse &quot;Hong Xing Zhi Tou Chun Yi Nao&quot; conveys the Jingjie of the whole poem. (Wang Guowei 2017,15). Therefore, if one attempts to translate the poem, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility. It expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104).<br /> <br /> Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006). <br /> <br /> Lu Wei and Li Defeng shed light on the topic &quot;translation theories with Chinese characteristics&quot; and argued that Liu Miqing's A Comparative Study of Chinese and Western Translation Principles provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010).<br /> <br /> ===4. Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===<br /> <br /> ===4.1 From the aspect of the content===<br /> Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. Translation History and Culture: A Sourcebook concentrates on Western translation principles before contemporary translation studies. While A Comparative study of Chinese and Western Translation Principles analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. <br /> <br /> Meanwhile, they boast their distinctive writing style. In Translation History and Culture: A Sourcebook, Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracted other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)<br /> <br /> ===4.2 From the aspect of the arrangement===<br /> Both of these two books are arranged in theme, rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. The longer essays are collected in the last chapter. Liu arranges his book differently.<br /> <br /> Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', including the characteristics, origins, schools and limitations of Chinese and western translation, Liu not only quotes other’s statement, he applies many tables to demonstrate his thoughts, which helps the readers better understand translation principles.<br /> <br /> ===Conclusion===<br /> In conclusion, the paper is intended to help readers to understand these two books in depth. After a brief introduction of these two books, it analyzes John Dryden’s three types of translation and his comparison of translator to slave and figures out the reason for the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper made a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learns translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.<br /> <br /> ===References===<br /> André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp; Francis e-library.<br /> <br /> André Lefevere &amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;New York: Pinter Publishers.<br /> <br /> Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.<br /> <br /> Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.<br /> <br /> Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp; Francis Group.<br /> <br /> Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp; Publishing Corporation中国对外翻译出版公司.<br /> <br /> Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp; Technology Translators Journal 23(02):11-14+29.<br /> <br /> Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.<br /> <br /> Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.<br /> <br /> Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.<br /> <br /> Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> ==The development and future trend of translation Theory 张慧 Zhang Hui 202070080622 英语笔译==<br /> <br /> ===Abstract===<br /> This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.<br /> ===Key Words===<br /> Chinese and Western, translation theory, development, trend<br /> ===摘要===<br /> 本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。<br /> ===关键词===<br /> 中西方，翻译理论，发展，趋势<br /> ===Introuction===<br /> Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.<br /> <br /> Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)<br /> ===The Four Periods of Development of Chinese Translation Theory===<br /> <br /> Ancient Translation Period<br /> <br /> The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）<br /> <br /> Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &quot;seeking the truth&quot; and &quot;using the vulgar&quot; in the translation process. He also established the principle of &quot;five not to turn,&quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）（quotation missing）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> Translation of the Late Qing Dynasty and Early Republic of China<br /> <br /> A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）<br /> <br /> Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）<br /> <br /> Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）<br /> <br /> His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）（paragraph too long）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.<br /> <br /> Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: <br /> <br /> (1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.<br /> <br /> Translation Theory in the Republic of China<br /> <br /> Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &quot;shenyun translation&quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）<br /> <br /> Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）<br /> <br /> After the Founding of the People’s Republic of China<br /> <br /> The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）<br /> <br /> Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）<br /> ===Prospects for the Development of Contemporary Chinese Translation Theory===<br /> <br /> Emphasis on the study of basic translation theory <br /> <br /> Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> “Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). <br /> <br /> In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). <br /> <br /> Innovation of ontology<br /> <br /> Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) <br /> <br /> Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> ===The Historical Development of Western Translation Theory and Its Classification===<br /> <br /> Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. <br /> <br /> The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)<br /> <br /> <br /> The School of Thought and the Main Characteristics of Western Translation Theory<br /> <br /> Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.<br /> <br /> Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. <br /> <br /> The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. <br /> <br /> These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. <br /> <br /> Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. <br /> <br /> Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. <br /> <br /> The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)<br /> <br /> The Response of Western Translation Theory in China’s Translation Industry<br /> <br /> As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. <br /> <br /> Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)<br /> <br /> ===Analysis of Theoretical Research Status===<br /> <br /> Descriptive Analysis of Translation Theory Research<br /> <br /> First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)<br /> <br /> Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.<br /> Third, researchers and institutions. <br /> <br /> The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)<br /> Systematic Analysis of Translation Theory Research<br /> <br /> First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.<br /> <br /> Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.<br /> <br /> Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.<br /> <br /> Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. <br /> <br /> Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. <br /> <br /> This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.<br /> <br /> Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).<br /> <br /> The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. <br /> <br /> The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.<br /> <br /> ===Trends in Translation Theory Research===<br /> <br /> Interdisciplinary cooperation and integration<br /> <br /> Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. <br /> <br /> In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）<br /> <br /> Return to culture development<br /> <br /> The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.<br /> <br /> Seeking Common Ground while Surviving Differences in Cultural Translation<br /> <br /> Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）<br /> <br /> ===Conclusion===<br /> <br /> From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.<br /> <br /> ===References===<br /> <br /> [1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.<br /> <br /> [2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.<br /> <br /> [3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.<br /> <br /> [4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.<br /> <br /> [5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.<br /> <br /> [6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.<br /> <br /> [7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.<br /> <br /> [8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.<br /> <br /> [9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.<br /> <br /> [10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.<br /> <br /> [11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.<br /> <br /> ==A Cultural Critique of Foreignization and Domestication 吴子佳 Wu Zijia==<br /> <br /> ==='''Abstract'''===<br /> Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.<br /> <br /> ==='''Key words'''===<br /> <br /> Domestication foreignization cultural-overloaded words cross-cultural communication.<br /> <br /> ==='''摘要'''===<br /> <br /> 归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。<br /> <br /> ==='''关键词'''===<br /> <br /> 归化，异化，文化负载词，跨文化交流<br /> <br /> <br /> ===''' Introduction of Domestication and Foreignization '''===<br /> <br /> Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）<br /> <br /> On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.<br /> Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）<br /> <br /> For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku）<br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞” cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku）<br /> <br /> ==='''Analysis on Culture Differences in Translation'''===<br /> <br /> Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. <br /> <br /> Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）<br /> <br /> So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &quot;dog&quot; is mostly unpleasant, so the metaphor of &quot;dog&quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）<br /> <br /> On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &quot;dog&quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）<br /> <br /> Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &quot;rice&quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &quot;bread and butter,&quot; &quot;big potato&quot;,”hot potato” and &quot;couch potato.&quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）<br /> <br /> ===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===<br /> <br /> 1. Practice of foreignization and domestication in tourism culture<br /> <br /> The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)<br /> <br /> Example 1:<br /> <br /> 路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字<br /> To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))<br /> Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> Example 2<br /> <br /> 云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。<br /> Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.<br /> Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> <br /> Example 3<br /> <br /> 花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)<br /> 孤山: Gushan (Solitary Hill) <br /> 湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。<br /> Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”<br /> Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> <br /> Example 4 <br /> <br /> Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> Example 5<br /> <br /> 她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。<br /> It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.<br /> The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> Example 6<br /> <br /> 四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。<br /> Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. <br /> By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> 2. Practice of Foreignization and Domestication in Food Culture<br /> <br /> With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）<br /> <br /> For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）<br /> <br /> Example 7<br /> <br /> 番茄牛腩(tomato and beef brisket)<br /> This translation consists of main ingredient and ingredient.<br /> 砂锅面(casserole noodles)<br /> This translation consists of utensils and ingredients.<br /> 淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)<br /> This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.<br /> 炒酸菜, 手抓饼(sauerkraut, shredded cake)<br /> This translation consists of the cooking method or eating method and ingredients.<br /> Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）<br /> <br /> Example 8<br /> <br /> 蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)<br /> This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.<br /> 霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)<br /> This translation is named after historical allusions.<br /> 驴打滚 (打糕) :Donkey roll (beating cake)<br /> This translation is named according to the production process metaphor. <br /> 佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).<br /> This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）<br /> <br /> Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.<br /> <br /> Example 9<br /> <br /> “叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &quot;Baked Chicken&quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)<br /> <br /> <br /> If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)<br /> <br /> Example 10<br /> <br /> Some foods are usually translated in the form of &quot;Hanyu Pinyin + English notes&quot; in order to retain certain characteristics.<br /> For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）<br /> <br /> For example, &quot;豆腐&quot; translates as &quot;Toufu&quot;; &quot;馄饨&quot; translates as &quot;Wonton&quot;. The translation of四一丸子:&quot;Four Happy Meatballs&quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）<br /> <br /> 3. Practice of Foreignization and Domestication in Diplomacy<br /> <br /> Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）<br /> <br /> Example 11<br /> <br /> 我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。<br /> What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.<br /> In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）<br /> <br /> Example 12<br /> <br /> “投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）<br /> To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.<br /> This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）<br /> <br /> Example 13<br /> <br /> 耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）<br /> &quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.<br /> This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）<br /> <br /> Example 14<br /> <br /> “滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）<br /> <br /> &quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.<br /> This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）<br /> <br /> Example 15<br /> <br /> 我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）<br /> <br /> If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&quot;稻草、吸管&quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）<br /> <br /> ===''' Conclusion '''===<br /> <br /> Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.<br /> <br /> ===''' References '''===<br /> <br /> * Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.<br /> * Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.<br /> * Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.<br /> * Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.<br /> * Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.<br /> * Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.<br /> * Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.<br /> * Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.<br /> <br /> ='''Contemporary Translation Studies'''=<br /> <br /> <br /> ==A Study On the Influence of Linguistics on the Construction of Translatology 孔祥慧 Kong Xianghui 202020080608==<br /> &lt;center&gt;孔祥慧 Kong Xianghui &lt;/center&gt;<br /> ==='''Abstract'''===<br /> Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .<br /> <br /> ==='''Key words'''===<br /> Translatology;Linguistic;Discipline Construction<br /> <br /> ===摘要===<br /> 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。<br /> <br /> ===关键词===<br /> 翻译学；语言学；学科构建<br /> <br /> ==='''1.Introduction'''===<br /> Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）<br /> <br /> For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）<br /> <br /> This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.<br /> <br /> ==='''2.Literature review '''===<br /> This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. <br /> <br /> '''2.1Studies on the construction of translatology aboard'''<br /> <br /> In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.<br /> <br /> Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.<br /> <br /> J.C. Catford in his book ''A Linguistic Theory of Translation'' (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.<br /> <br /> Holmes published ''The Name and Nature of Translation Studies'' at The Third International Conference on Applied Linguistics in 1972, which was &quot;widely regarded as the founding declaration of the discipline of translation studies&quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.<br /> <br /> In 1982, Wolfram Wilss published ''the Science of Translation: Problems and Methods'', clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.<br /> <br /> Newmark is also a representative figure in the field of translation. In his book ''Exploration of Translation'' (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.<br /> <br /> Hatim &amp; Mason, whose representative work is ''Discourse and the Translator'' (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.<br /> <br /> Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.<br /> Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published ''Translation and Conflict'': A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.<br /> <br /> '''2.2 Studies on the construction of translatology at home'''<br /> <br /> In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology in China made great progress.<br /> <br /> In 1951, Dong Qius, a famous Chinese translator, published his article ''On the Construction of Translation Theory''. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.<br /> <br /> In 1987, Tan Zaixi clearly put forward the view that &quot;translation studies are an independent subject&quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published ''On Approaches to Translation Studies''. In this paper, Tan mainly distinguished two concepts of &quot;translation&quot; and &quot;translatology&quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.<br /> <br /> In the thesis ''An Overview of Western Translation Theory'' (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.<br /> <br /> In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.<br /> <br /> At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.<br /> <br /> Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published ''Constructing The Linguistic Basis of Translation Studies'' (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.<br /> <br /> Yi Jing published his doctoral thesis ''On The Construction of Translation Studies'' (2009), which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis ''On The Construction of Translation Studies'' in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.<br /> <br /> In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in ''Translation View in Cognitive Linguistics'' proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.<br /> <br /> Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.<br /> <br /> From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.<br /> <br /> ==='''3.The Construction of Translatology '''===<br /> <br /> In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.<br /> <br /> '''3.1Translation and Translatology'''<br /> <br /> &quot;Translation&quot; and &quot;translatology&quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)<br /> <br /> In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &quot;translatology&quot; is used to refer to translation studies.&quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&quot;.（Liu Zhongde，1995）<br /> Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.<br /> <br /> '''3.2 Three Stages of Translatology'''<br /> <br /> Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.<br /> <br /> '''3.2.1 Early translation practice'''<br /> <br /> Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)<br /> <br /> '''3.2.2 The awareness of an academic discipline'''<br /> <br /> Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &quot;translation must become an independent discipline&quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.<br /> <br /> Such a group of people also appeared in modern China. Lin Yutang used the word &quot;translation studies&quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）<br /> <br /> '''3.2.3 The rapid development stage of translation studies'''<br /> <br /> Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018)<br /> Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.（Wikipedia）<br /> <br /> ==='''4.The Influence of Linguistics on the Construction of Translatology'''===<br /> <br /> For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.<br /> <br /> 4.1 Contributions of early linguists to translation<br /> <br /> As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.<br /> Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &quot;signifier&quot; and &quot;signified&quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）<br /> <br /> These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.<br /> <br /> 4.2 Translation studies based on linguistic theory<br /> <br /> In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.<br /> <br /> 4.2.1 The influence of Structuralist linguistics<br /> <br /> Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &quot;pure linguistic forms&quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.(Lvjun，2004)<br /> <br /> Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &quot;the science of translation&quot; and &quot;dynamic equivalence/Functional equivalence&quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &quot;six-level equivalence theory&quot; .(Yi Jing,2012)<br /> <br /> Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.（Zou Bin,Mu Lei,2020)<br /> <br /> 4.2.2 The influence of discourse linguistics<br /> <br /> For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002）<br /> Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics.<br /> The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）<br /> <br /> 4.2.3 The influence of contemporary linguistics<br /> <br /> As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）<br /> <br /> Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.(Liao Qiyi， 2000)<br /> <br /> 4.3 The experience of the construction of linguistics<br /> <br /> In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.<br /> <br /> 4.4.1 Discipline development<br /> <br /> Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.（Kong Xiangli，2009）<br /> The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.<br /> <br /> 4.4.2 Discipline structure<br /> <br /> Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.<br /> From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.（Yi Jing，2009）<br /> Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.<br /> <br /> 4.4.3 Development Trend of discipline<br /> <br /> Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.<br /> In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）<br /> <br /> ==='''5.Conclusion'''===<br /> Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.<br /> <br /> ==='''References'''===<br /> Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.<br /> <br /> Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.<br /> <br /> Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''<br /> <br /> Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.<br /> <br /> Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. 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(1998). 关于建立翻译学的一些看法. [Views on the Establishment of Translation Studies]. ''外国语(上海外国语大学学报)'' [Foreign Languages (Journal of Shanghai International Studies University)] 27-31+60.<br /> <br /> Lv Jun. 吕俊. (2004). 建构翻译学的语言学基础. [The Linguistic Basis of Translation studies]. ''外语学刊''[Foreign Language Research] 96-101.<br /> <br /> Liao Qiyi. 廖七一. (2000). 语料库与翻译研究[Corpus and Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 380-384.<br /> <br /> O Aiping. 欧爱萍.(2012). 浅谈语言学对翻译学科的影响. [A Brief Discussion on the influence of Linguistics on translation]. ''中外企业家''[Chinese and Foreign Entrepreneurs] 179-180.<br /> <br /> Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.<br /> <br /> Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.<br /> <br /> Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.<br /> <br /> Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.<br /> <br /> Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.<br /> <br /> Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].<br /> <br /> Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.<br /> <br /> Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. 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''中国外语''[Foreign Languages in China] 77-84.<br /> <br /> ==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658==<br /> <br /> ==='''Abstract'''===<br /> <br /> With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.<br /> <br /> ==='''Key words'''===<br /> <br /> Translation Studies, translation education, translation talents<br /> <br /> ==='''题目'''===<br /> <br /> 对中国翻译学学习的反思<br /> <br /> ==='''摘要'''===<br /> <br /> 随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析学习翻译学科目前存在的问题，并提出相关的建议。 <br /> <br /> ==='''关键词'''=== <br /> <br /> 翻译学，翻译教育，翻译人才<br /> <br /> <br /> ==='''1. Introduction'''===<br /> <br /> 1.1. The Connotation of Translation Studies<br /> <br /> Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &quot;''The Name and Nature of Translation Studies''&quot;, is a basic statement of translation studies: it calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, including comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.<br /> Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation Studies can examine the practice and background of translating professional texts (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. <br /> <br /> Learning these contents enables students to apply their theoretical understanding to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually include the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills needed to solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.<br /> <br /> 1.2. The Significance of Translation Study<br /> With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. At the same time, as today's multicultural and multilingual society requires effective, efficient and understanding communication between languages and cultures, translation skills have become more and more important and desirable. <br /> <br /> As a science, Translation Studies has always had its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can understand the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. This is also the necessity for translators to learn Translation Studies.<br /> <br /> ==='''2. The Development Process of Translation Studies in China'''===<br /> <br /> Translation activities has appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, the flourishing period of Translation Studies.<br /> <br /> 2.1. The Exploration Period of Translation Studies <br /> <br /> In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, Almost no. What we have are some translation regulations and fragments of experience for temporary reference.&quot; He clearly called for the establishment of &quot;a complete translation theory system&quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared in history.<br /> <br /> However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have become increasingly single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc. At that time, because a large number of people who understand foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to strengthen foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under foreign language and literature, but the distinction between translation teaching and language teaching has gradually become clear.<br /> <br /> 2.2. The Development Period of Translation Studies<br /> <br /> At the beginning of this period, it was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. At this stage, some masters and doctors in translation studies joined the construction team translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation desperately. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of &quot;''China Translator''&quot; in 2004 come to congratulate. Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.(Huang Zhongqian, Zhang Xiao 2020) Translation research ideas, methods, space and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.<br /> <br /> 2.3. The Flourishing Period of Translation Studies<br /> <br /> In 2011, the Ministry of Education adjusted the discipline catalog and listed &quot;Translation Studies&quot; as a second-level subject under the first-level discipline of &quot;Foreign Languages and Literature&quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction. In the flourishing period, the construction of translation disciplines and the development of translation majors in China have shown a new look. Many levels have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training. There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.<br /> <br /> ==='''3. Challenges of Learning Translation Studies in China'''===<br /> <br /> The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. China's translation discipline has now entered a new stage, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.<br /> <br /> 3.1. Translation Education<br /> <br /> With the establishment of the status of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the training of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better. However, China's translation education started and developed after the reform and opening up, is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, and systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.<br /> <br /> 3.1.1. Orientation of the Cultivation of Translation Talents<br /> <br /> At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to the unclear concept of the cultivation of translation talents. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation professional teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market. (Zhong Weihe 2019)Due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.<br /> <br /> 3.1.2. Faculty Resources<br /> <br /> The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. The problem of translation teachers has always been a bottleneck problem that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data show that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &quot;''National Standard of Part-time Teacher in MTI Education'' &quot;. (Zhong Weihe 2019) In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.<br /> <br /> 3.1.3. Teaching method<br /> <br /> Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2020) For example, this kind of teaching method that ignores student autonomy is entirely a teacher-centered teaching model, which will place too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.<br /> <br /> 3.1.4 Translation Teaching Research<br /> <br /> The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is rare. besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play.(Bo Zhenjie, Li Heqing 2011) However, combining actual translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but not deep into the actual situation.<br /> <br /> 3.2. Students<br /> <br /> The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.<br /> <br /> 3.2.1. Low level of commitment to translation learning<br /> <br /> Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between the word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.<br /> <br /> 3.2.2. Insufficient background knowledge <br /> <br /> Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not grasp sufficient background information. With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. (Xie Zhentian, 2015) Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.<br /> <br /> 3.2.3. Neglect of theoretical knowledge<br /> <br /> At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）<br /> <br /> ==='''4. Suggestions for the Learning of Translation Studies'''===<br /> <br /> In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved according to the development of times. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote the development of Translation Studies in China.<br /> <br /> 4.1. Translation Education<br /> <br /> 4.1.1. Improve Teaching Mode<br /> <br /> The teaching model is an important basic guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation or current affairs. Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to make something new. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. The objective teaching method is a teaching mode that can be introduced in translation teaching. This type of mode attaches great importance to the construction of learning environment and the value of teachers' guidance to students. (Ou Yonghua 2019) This is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.<br /> <br /> 4.1.2. Strengthen Faculty Force<br /> <br /> Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and first-line translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)<br /> <br /> 4.1.3. Broaden the academic vision of translation<br /> <br /> Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which is a comprehensive academic research of the discipline. Carry out the provision of roadmap (Lan Hongjun, 2018); the second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary and integration, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)<br /> <br /> 4.2. Students <br /> <br /> The quality of translation talents plays a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.<br /> <br /> 4.2.1. Expanding knowledge<br /> <br /> Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future, in addition to having a solid foundation in language ability, they should also take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills. A very good way to expand their knowledge is to improve their search ability. Search ability, specifically, refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students is urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)<br /> <br /> 4.2.2. Emphasize theory and practice more<br /> <br /> Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics, not only the translation skills and theories，but also practice more. Theories that are out of practice cannot keep up with the development of the times. Students must spend enough time in practicing. They can go to the front line of production or go deep into all aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.<br /> <br /> ==='''5.Conclusion'''===<br /> <br /> This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the concept of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Those engaged in translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and so on. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.<br /> <br /> President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies were not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, draw on the latest foreign translation theories, combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. (Zhong Weihe, Zhao Tianyuan 2020) The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.<br /> <br /> ==='''References'''===<br /> Holmes, James S. (1972). The Name and Nature of Translation Studies. ''Papers on Literary Translation and Translation Studies''. 67–80.<br /> <br /> Bo Zhenjie, Li Heqin.薄振杰,李和庆.(2011).关于当前中国翻译教学研究的思考.[ Reflection on the Current Research of Translation Teaching in China].外语界[''Foreign Language World''] 76-83.<br /> <br /> Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].<br /> <br /> Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.<br /> <br /> Jiang Feifei.姜菲菲.(2019).中国文化走出去背景下对翻译学科的综述. [A Summary of Translation Studies from the Background of Outputting Chinese Culture].校园英语[''English Campus'']7-8. <br /> <br /> Lan Hongjun.蓝红军.(2018)从学科自觉到理论建构:中国译学理论研究(1987-2017). [Theoretically Oriented Translation Studies in China: 1987 - 2017].中国翻译[''Chinese Translators Journal'']7-16<br /> <br /> Mu Lei, Li Xixi.穆雷, 李希希.(2019).中国翻译教育研究:现状与未来.[ Research on Translation Education in China: Status Quo and Future] .外语界[''Foreign Language World''] 24-32.<br /> <br /> Ou Yonghua.(2019).新时期中国翻译教学研究思考概述. [An Overview of Researches on Chinese Translation Teaching in the New Era].课程教育研究[''Course Education Research''] 13.<br /> <br /> Xi Jinping.习近平.(2016).在哲学社会科学工作座谈会上的讲话.[ Speech at the Symposium on Philosophy and Social Sciences].新华网[xinhuanet].<br /> <br /> Xie Zhentian.谢天振.(2015).翻译巨变与翻译的重新定位与定义——从2015年国际翻译日主题谈起.[ Great Changes in Translation and Repositioning and Definition of Translation——Starting from the theme of the International Translation Day in 2015].东方翻译[''East Journal of Translation''] 4-8. <br /> <br /> Wang Baigula.王白古拉.(2018).中国翻译教学现状与复合型翻译人才培养. [The Status Quo of Translation Teaching in China and the cultivation of Interdisciplinary Translators].文存阅刊[''Wen Cun Journal''] 87.<br /> <br /> Wang Na.王娜. (2020).MTI在校生搜索能力不足成因分析. [An Analysis of the Causes of Insufficient Searching Ability of MTI Students].海外英语[''Overseas English''] 194-195.<br /> <br /> Zhong Weihe.仲伟合.(2019).改革开放40年我国翻译专业教育:成就、挑战与发展. [China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.<br /> <br /> Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.<br /> <br /> ==The influence of translator's cultural identity on translation 周玉娟 Zhou Yujuan 202020080674 亚非语言文学波斯语方向 ==<br /> ===Abstract===<br /> Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.<br /> <br /> ===Keywords===<br /> translation; translator; cultural identity; Shakespeare's plays<br /> <br /> ===摘要===<br /> 梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。<br /> <br /> ===关键词===<br /> 翻译；译者；文化身份；莎士比亚剧<br /> <br /> ===Introduction===<br /> Translating a work is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important active role in both translating the content and interpreting it, and the translator is the first person who is in direct contact with the original text.<br /> <br /> Benjamin, the famous German literary critic, once said : &quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &quot;cultural identity&quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)<br /> <br /> There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.<br /> <br /> === Introduction to the identity of the translator===<br /> Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.<br /> <br /> Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.<br /> <br /> &quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&quot; (Xi Yongji. 2007:245)<br /> <br /> ====Zhu Shenghao's Cultural Identity====<br /> Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.<br /> <br /> In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.<br /> <br /> Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on naturalization strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.<br /> <br /> ====Liang Shiqiu's Cultural Identity====<br /> Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.<br /> <br /> However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &quot;All civilization is the original creation of a very few geniuses&quot;, &quot;literature and art are the original creation of a few geniuses&quot;, &quot;there is no literature and art for the majority, and literature and art are not for the majority &quot;. (Liang Shiqiu: R.O.C. 23) &quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&quot; <br /> As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12) <br /> <br /> We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &quot;genius literature&quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese literary world. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.<br /> <br /> ====Foreignization and domestication Strategies====<br /> According to Venuti, domestication is &quot;bringing the original author into the desired language and culture of the translation&quot;, while dissimilation is &quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&quot; (Venuti, 1995:20). (Venuti, 1995:20)<br /> <br /> Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.<br /> <br /> The method of Foreignization is: &quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.<br /> <br /> ===The cultural identity of translators in translation===<br /> First, the translator is the second pair of eyes of the reader. &quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.<br /> <br /> Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.<br /> <br /> ====In terms of the original intention of translation====<br /> The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &quot;interest&quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao himself said, &quot;I love Shakespeare's plays so much and so only that I have tried to read the whole text at least ten times from the beginning to the end. ......&quot; Zhu's love for Shakespeare is so strong that &quot;He was so passionate about Shakespeare that he would not stop reading Shakespeare, not eating it. <br /> <br /> In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.<br /> <br /> Liang Shiqiu believes that there is a distinction between elegant and vulgar literature, genius is to appreciate literature, the general public to read are popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &quot;the highest art only a few people can understand ......, literature and art is not the majority.&quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &quot;literature is created by genius&quot;.<br /> <br /> When he studied at Harvard University, he took the course &quot;Literary Criticism after the Sixteenth Century&quot; by the American neoclassicist Byrd Byrd, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &quot;preserve the most authentic things&quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &quot;hard translations&quot; and &quot;bent translations&quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)<br /> <br /> ====In terms of the content of the translation (taking the translation of Shakespeare as an example)====<br /> Zhu Shenghao stated at the beginning of his translation: &quot;My aim in translating this book is, first, to maintain the charm of the original work to the greatest extent possible, and then to consider the second point if it is not feasible, that is, to convey faithfully the meaning and feelings of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao's translation of Sha plays more attention to the performance function of drama.<br /> <br /> For example: ( the translation of Zhu Shenghao)<br /> EGEUS: Stand forth，Demetrius． My noble lord，<br /> 伊吉斯:走上前来，狄米特律斯。殿下，这个人，<br /> This man hath my consent to marry her．<br /> 是我答应把我女儿嫁给他的<br /> Stand forth，Lysander．<br /> 走上前来，拉山德。<br /> And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）<br /> 殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）<br /> <br /> In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &quot;purified&quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. <br /> For example, his translation. <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，<br /> Or I will shake thee from me like a serpent． (Ⅲ． ⅱ) (莎士比亚.2011:110)<br /> <br /> 拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!<br /> 否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。<br /> <br /> Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &quot;faithfulness and fidelity&quot;. The style of &quot;faith&quot; and &quot;faithfulness&quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.<br /> <br /> First: Stay true to the original text and try not to delete or subtract from it.<br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ． ⅱ) (莎士比亚.2001:110)<br /> <br /> Translation of Liang Shiqiu:<br /> 赖， 走开，你这个猫，你这个缠人的东西! 下流的东西，松手，<br /> 否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。<br /> <br /> HELENA She was a vixen when she went toschool: <br /> And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)<br /> <br /> Translation of Liang Shiqiu:<br /> 海 上学时她就是个狐狸精。<br /> 她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。<br /> <br /> Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &quot;Shakespearean&quot;. &quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&quot;. (Liang Shiqiu. 1966) <br /> Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. <br /> For example, a fragment of Liang Shiqiu's translation of Hamlet.<br /> <br /> Queen. There is a willow grows aslant a brook,<br /> That shows his hoar leaves in the glassy stream;<br /> There with fantastic garlands did she come,<br /> Of crow-flowers, nettles, daisies, and long purples,<br /> That liberal shepherds give a grosser name.<br /> But our cold maids do dead man’s fingers call them:<br /> There, on the pendent boughs her coronet weeds<br /> Clambering to hang ,an envious sliver broke,<br /> When down her weedy trophies and herself<br /> Fell in the weeping brook. Her clothes spread wide;<br /> And, mermaid-like, awhile they bore her up;<br /> Which time she chanted snatches of old tunes; As one<br /> incapable of her own distress,<br /> Or like a creature native and indu’d<br /> Unto that element: but long it could not be<br /> Till that her garments ,heavy with her drink,<br /> Pull’d the poor wretch from her melodious lay<br /> To muddy death.<br /> （shakespeare, hamlet, act Ⅳ, scenceⅦ）<br /> <br /> The translation of Liang Shiqiu：<br /> 河边有一株斜长着的杨柳，白叶倒映<br /> 在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，<br /> 扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯<br /> 洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去<br /> 挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入<br /> 呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会<br /> 儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像<br /> 是水下生长的动物似的；但是这情形没有多久，她的衣服湿<br /> 透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的<br /> 死所去了。<br /> <br /> ===Conclusion===<br /> The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. <br /> <br /> For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. <br /> <br /> By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.<br /> <br /> ===References===<br /> Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．<br /> <br /> Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)<br /> <br /> Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary]. 台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.<br /> <br /> Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.<br /> <br /> Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128.. <br /> <br /> Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.<br /> <br /> Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.<br /> <br /> Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．<br /> <br /> Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．<br /> <br /> Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004<br /> <br /> Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.<br /> <br /> Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001<br /> <br /> Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．<br /> <br /> Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.<br /> <br /> ==Descriptive translation studies 曹润鑫 Cao Runxin==<br /> <br /> ===Abstract===<br /> The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.<br /> <br /> ===Key words===<br /> Descriptive translation studies; Translation studies<br /> <br /> ===摘要===<br /> 描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍<br /> <br /> ===关键字===<br /> 描述翻译学；翻译研究<br /> <br /> ===Introduction===<br /> Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &quot;faithfulness&quot; and &quot;equivalence&quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.<br /> <br /> Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &quot;cultural shift&quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &quot;faithful&quot; and &quot;reciprocal&quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.<br /> <br /> In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &quot;how translation should be&quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.<br /> <br /> ===Tuli and ''Descriptive translation''===<br /> The concept of &quot;descriptive translation&quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &quot;The Name and Reality of Translation Studies&quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.<br /> <br /> Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.<br /> <br /> In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&quot;. [3]<br /> <br /> According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &quot;(more) objective&quot; norms, while the latter are &quot;(more) subjective&quot; i.e. &quot;less objective&quot;. The concept of the This concept is very important in its theoretical system.<br /> <br /> He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]<br /> <br /> According to Tuli, &quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.<br /> Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &quot;translations&quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent. &quot;Exoticism&quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &quot;translation tone&quot; in the text. Due to the real existence of &quot;translation cavity&quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &quot;translation cavity&quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.<br /> <br /> Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &quot;credible&quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112<br /> <br /> According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.<br /> <br /> Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.<br /> <br /> In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &quot;meta-prescriptive&quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &quot;translation studies can never be merely descriptive&quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.<br /> <br /> === Hermanns and ''Translation in Systems''===<br /> The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.<br /> <br /> Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &quot;norm&quot; and Chesterman's &quot;norm&quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.<br /> <br /> The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &quot;reciprocity&quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &quot;norm&quot; and introduces the &quot;norm&quot; proposed by Tully and the &quot;norm&quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.<br /> <br /> Scholars who study descriptive translation have proposed that literature should be regarded as &quot;a complex and dynamic system&quot;, and that literary translation studies should &quot;adopt a descriptive, target-language-based, functional and systematic research approach&quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.<br /> <br /> ===Conclusion===<br /> Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.<br /> <br /> ===References===<br /> [1]李红满.论当代西方翻译研究范式的转变[J].外语与翻译, 2002 (2) .<br /> <br /> [2]张美芳.翻译学的目标与结构——霍姆斯的译学构想介评[J].中国翻译, 2000 (2) .<br /> <br /> [3]Toury, Gideon.Descriptive Translation Studies and Beyond[M].Shanghai:Shanghai Foreign Language Education Press, 2001.<br /> <br /> [4]林克难.翻译研究:从规范走向描写[J].中国翻译, 2001 (6) .<br /> <br /> [5]Vermeer, Hans J.A Skopos Theory of Translation[M].Heidellburg:TEXT-con, 1996.<br /> <br /> [6]Venuti.Lawrence.The Translator’s Invisibility[M].A History of Transla-tion.London&amp;New York:Routledge, 1995.<br /> <br /> [7]Snell-Homby, Mary.Translation Studies.AnIntegrated Approach[M].Re-vised ed.Amsterdam:John Benjamins, 1995.<br /> <br /> [8]Hemans, Theo, ed.The manipulation of Literature[M].London&amp;Sydney:Croom Helm, 1985.<br /> <br /> [9]韩子满, 刘芳.描述翻译研究的成就与不足[J].外语学刊, 2005 (3) .<br /> <br /> [10]谢天振.翻译研究新视野[M].青岛:青岛出版社, 2003.<br /> <br /> [11]张南峰.从梦想到现实——对翻译学科的东张西望[J].外国语, 1998 (3) .<br /> <br /> == An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==<br /> ==Translation Strategies== Sagara Seydou , Student No :201911080004, Major ;Translation Studies <br /> Translation Strategies <br /> Abstract <br /> Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.<br /> <br /> Key words: translation strategies and translational problems.<br /> <br /> This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;<br /> Introduction<br /> The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers define them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical significance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)<br /> <br /> Content<br /> Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classifications from different perspectives. For example, Lörscher’s (1991) classification is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classifications. It seems that clear-cut definitions of these terms might not work as well as prototype definitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)<br /> The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reflect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reflects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)<br /> <br /> The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp fiction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp; Munday,2004, p. 230)<br /> Having discussed the two prototype strategies, let us turn to the definitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few defining characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difficulty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).<br /> Problems, according to their scale, can be divided into global (or general) problems and local (or specific) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “specific activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle specific problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by specific techniques, which affect the translation result and the micro-units of the text, and are classified by comparison with the source text (Molina &amp; Hurtado Albir, 2002, p. 509).<br /> As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural filtering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.<br /> However, this is not consonant with the dictionary definitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is defined as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) defines translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will influence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identified the following text processing strategies: (a) problem identification, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal significant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can find out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280). Darwish (2008) identifies four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70).<br /> However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might influence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difficulty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.<br /> <br /> Conclusion<br /> In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.<br /> References<br /> Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp; J. Laffling(Eds.), Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=History_of_Translation_Studies_10&diff=113464 2020-12-17T07:41:39Z

<p>Sagara Seydou 3: /* Translation Strategies - Sagara Seydou */</p> <hr /> <div>这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> *Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> *Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]<br /> *Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].<br /> ='''Functional Equivalence'''=<br /> <br /> <br /> == On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==<br /> <br /> ===Abstract===<br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.<br /> <br /> ===key words===<br /> <br /> functional equivalence, formal equivalence, translation<br /> <br /> ===摘要===<br /> 翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。<br /> <br /> ===关键字===<br /> 功能对等，形式对等，翻译<br /> <br /> ===Introduction===<br /> <br /> As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. <br /> <br /> Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.<br /> <br /> ===Functional Equivalence===<br /> In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)<br /> <br /> Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). <br /> <br /> To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. <br /> Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.<br /> <br /> ===Formal equivalence===<br /> <br /> Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） <br /> <br /> Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.<br /> <br /> ===Relationship between functional equivalence and formal equivalence===<br /> In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.<br /> <br /> For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.<br /> <br /> Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.<br /> <br /> Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.<br /> <br /> Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.<br /> <br /> ===Application of functional equivalence and functional equivalence in translation===<br /> <br /> Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.<br /> <br /> ====Lexical equivalence====<br /> <br /> Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.<br /> <br /> Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. <br /> <br /> It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. <br /> “When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”<br /> In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.<br /> <br /> ====Syntax equivalence====<br /> <br /> Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: <br /> “Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”<br /> Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。<br /> <br /> We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.<br /> When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. <br /> There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:<br /> “You’re not a student,are you?”<br /> “Yes, I am.” <br /> Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.<br /> <br /> ====Texual equivalence====<br /> <br /> Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. <br /> <br /> Example: “祥子！”她往前凑了凑：“我有啦！” <br /> “有了什么？”他一时蒙住了。<br /> “这个！”她指了指肚子。“你打主意吧！”<br /> Translation: “Xiangzi,” she came closer. “I am in trouble!”<br /> “What trouble?” He was startled.<br /> “This!” She pointed her belly. “What was you going to do about it?”<br /> According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.<br /> <br /> In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner connotation it bears. <br /> Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. <br /> Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.<br /> <br /> The last element we should never ignore is cultural context given that there are great cultural differences between English and Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.<br /> Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.<br /> We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.<br /> <br /> ====Stylistic equivalence====<br /> <br /> Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.<br /> Example: 清明<br /> 杜牧<br /> 清明时节雨纷纷，路上行人欲断魂。<br /> 借问酒家何处有? 牧童遥指杏花村。<br /> Translation by Wu Juntao:<br /> The Pure Brightness Day<br /> By Du Mu<br /> It drizzles thick and fast on the Pure Brightness Day,<br /> I travel with my heart lost in dismay.<br /> “Is there a public house somewhere, cowboy?”<br /> He points at Apricot Village faraway.<br /> <br /> In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..<br /> Translation by Xu Yuanchong:<br /> The Mourning Day<br /> By Du Mu<br /> A drizzling rain falls like tear on the Mourning Day;<br /> The mourner’s heart is going to break on his way.<br /> Where can a wineshop be found to drown his sad hours?<br /> A cowherd points to a cot ’mid apricot flowers. <br /> <br /> In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.<br /> <br /> ===Conclusion===<br /> <br /> Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation. <br /> <br /> Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)<br /> <br /> ===References===<br /> <br /> Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.<br /> <br /> Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.<br /> <br /> Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．<br /> <br /> Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.<br /> <br /> Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.<br /> <br /> Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &quot;Faithfulness, Expressiveness and Elegance&quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.<br /> <br /> Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.<br /> <br /> Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.<br /> <br /> Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.<br /> <br /> Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.<br /> <br /> 尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．<br /> <br /> Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).<br /> <br /> UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．<br /> <br /> == My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==<br /> <br /> == Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==<br /> &lt;center&gt;肖茜 Xiao Xi No.202020080654&lt;/center&gt;<br /> ===Abstract===<br /> Hao Jingfang's science fiction &quot;Folding Beijing&quot; won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu's rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of the theory of Nida's functional equivalence to &quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&quot;. The theory of Nida's functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu's application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.<br /> <br /> ===Key words===<br /> Functional Equivalence; Folding Beijing; meaning; style; culture<br /> <br /> ===题目===<br /> 刘宇昆翻译中的功能对等-以《北京折叠》为例<br /> ===摘要===<br /> 郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。<br /> <br /> ===关键词===<br /> 功能对等；《北京折叠》；意义；风格；文化<br /> <br /> ===Introduction===<br /> In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.<br /> <br /> This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers' understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida's functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.<br /> <br /> ===1. Eugene A. Nida and His Theory of Functional Equivalence===<br /> <br /> Eugene A. Nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work Toward a Science of Translating. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers' response, not just the equivalence of content and form. In his book The Theory and Practice of Translation, Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida's dynamic equivalence theory requires that the translation readers' response to the translation should be consistent with that of the original readers. <br /> <br /> Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &quot;The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers did&quot; (Nida 1993:118). <br /> <br /> In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the receptor-language reader's response, (3) the receptor language and culture as a whole. Nida defined the reader's response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader's response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.<br /> <br /> ===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===<br /> <br /> ====2.1 Functional Equivalence from Aspect of Meaning====<br /> <br /> Nida and Taber (2004：12) stated that &quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&quot; Meaning in this chapter will from three levels to discuss: words, sentences and passages, in other words, these three levels is a detailed analysis of the lexicon, syntax and discourse. According to the functional equivalence theory, translation should not only achieve literal equivalence, but also discover the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in the translation of Folding Beijing from lexical, syntactic and discourse perspectives.<br /> <br /> =====2.1.1 Lexical level=====<br /> <br /> In literary translation, how to correctly interpret the meaning of a word or phrase is always a difficult problem. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is most appropriate. In the English translation of Folding Beijing, there are many examples to illustrate how the translation achieves functional equivalence with the source text in the lexical level as follows:<br /> <br /> Example 1:<br /> “食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）<br /> <br /> &quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&quot; (Ken Liu 2015)<br /> <br /> Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &quot;the plastic tables at the food hawker stalls&quot; for readers to understand. &quot;Sour and spicy powder&quot; is originally a kind of Chinese noodles. The author uses &quot;hot and sour rice noodles&quot; to describe the taste of sour and spicy and the raw material of noodles is rice.<br /> <br /> Example 2:<br /> “这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）<br /> <br /> &quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&quot; (Ken Liu 2015)<br /> <br /> The translator uses &quot;a toothpick dangling between his lips&quot; to describe the action of picking teeth，it's more detailed and vivid. “懒散不修边幅” is translated into &quot;lazy and slovenly&quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &quot;the appearance of being perpetually grumpy&quot;, in this way, the translation better expresses the author's intention to express the meaning of looking bad-tempered. <br /> <br /> Example 3:<br /> “霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）<br /> <br /> &quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&quot; (Ken Liu 2015)<br /> <br /> The author did not translate directly “闪烁的小灯” into &quot;the little flashing lights &quot;, but &quot;Tiny flashing LEDs&quot;. This is also because of the translator's own understanding of the text, he wants the readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &quot;lapi&quot;, which is to show the original meaning.<br /> <br /> =====2.1.2 Syntactic Level=====<br /> <br /> Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese. The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, conjunctions and relationship between words in English use frequency is very high. Secondly, English speakers put attention on object consciousness and used to the order from a small object to a large one, from specific to general; In Chinese texts, there is usually a temporal, spatial or causal sequence of time sequence. Finally, English language usually emphasizes important information at the beginning of a sentence, while the Chinese language tends to process information from the obsolete to the fresh for the purpose of impressing people.<br /> <br /> In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a proper form. The following are some examples to show that how English translation oh Folding Beijing achieves functional equivalence to the original text in syntactic level: <br /> <br /> Example 1:<br /> “ ‘现在政府太混沌了，做事太慢，僵化，体系也改不动。’他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。’他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’” （Jingfang Hao 2016:15）<br /> &quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&quot; (Ken Liu 2015)<br /> We can see that in the translation of this paragraph, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the readers have supplemented and translated this sentence into &quot;I'll also work to expand the pool of candidates for government service and promotion&quot;, The translator perfectly explains what &quot;放开&quot; means.<br /> <br /> Example 2:<br /> “昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）<br /> <br /> “Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) <br /> <br /> In this passage, the text refers to “过去” twice with emphasis. In order to achieve the same emphasis in the English translation, the author chose to adjust the word order, placing &quot;In the dim lamplight&quot; between the two sentences, rather than using a subordinate clause like &quot;…childhood that…&quot;.<br /> <br /> Example 3:<br /> “再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）<br /> <br /> &quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&quot; (Ken Liu 2015)<br /> <br /> In this passage, we can see clearly that English has many more conjunctions than Chinese, like &quot;as though&quot;, &quot;from where&quot; and &quot;that&quot;, this is because of the difference in syntax between the two languages.<br /> <br /> =====2.1.3 Discourse level=====<br /> <br /> Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &quot;rewrite&quot; to make the translated text acceptable to readers. In literary translation, the translator should pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in the level of discourse. The following part selects a dialogue and its English translation in Folding Beijing as an example of literary translation to achieve functional equivalence in discourse level.<br /> <br /> “所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”<br /> <br /> 老刀没有动筷子。他很饿，可是他觉得这时不能吃。<br /> <br /> “可是这等于我也得撒谎。”<br /> <br /> 依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)<br /> <br /> &quot;And so&quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&quot; <br /> <br /> Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.<br /> <br /> &quot;Then I'd be lying, too,&quot; Lao Dao said.<br /> <br /> Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &quot;Please accept this token of my appreciation.&quot; (Ken Liu 2015)<br /> <br /> The conversational habits in Chinese are different from those in English, so some adjustments are often made when translating. The form of the dialogue is not completely translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”translated into &quot;spooned a serving of the new hot dish&quot;, the translator changed the action to &quot;spoon&quot;, which is more suitable for Yi Yan's identity image, it is more suitable as a girl in the first space to spoon the vegetables to Lao Dao. “推给老刀”translated into &quot;She pushed them across the table toward Lao Dao&quot;, this sentence adds some action to make it more pictorial.<br /> <br /> ====2.2 Functional Equivalence from Aspect of Style====<br /> <br /> Every writer has his own writing style, and no one can imitate it perfectly. That is to say, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows the language characteristics, and the English translation can also see that the translator tries to achieve the functional equivalence on the stylistic level.<br /> <br /> =====2.2.1 Rhetoric=====<br /> <br /> First of all, rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form and is a counterpart of dialectic. The use of rhetoric can create vivid images, vivid scenes, improve the effect of literature.<br /> <br /> Example 1:<br /> 老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)<br /> <br /> &quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&quot; (Ken Liu 2015)<br /> <br /> In this passage, the original text compares a hungry stomach to an abyss, and the English translation also uses this metaphor to form a rhetorical functional equivalence.<br /> <br /> Example 2:<br /> 不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)<br /> &quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&quot; (Ken Liu 2015)<br /> <br /> In this paragraph, it is a metaphor, and the words &quot;西山&quot; and &quot;孤&quot; in the original text are not translated, only translated into &quot;an island in the sea&quot;, this description is enough to show the image of a folded city.<br /> <br /> Example 3:<br /> 高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)<br /> <br /> &quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&quot; (Ken Liu 2015)<br /> <br /> It has a personification in this paragraph, &quot;skyscrapers&quot; have &quot;heads, feet, necks and arms&quot;, and &quot;like the humblest servants&quot;, the use of rhetoric enables people to imagine the folding picture of the city through the human image. By comparing the building to a herd of beasts, it shows its size and the sense of fear and oppression it brings.<br /> <br /> Example 4:<br /> 直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)<br /> <br /> &quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&quot;(Ken Liu 2015)<br /> <br /> In this sentence, although &quot;怪胎&quot; translate into &quot;monster&quot;, the &quot;生&quot;express also the same meaning, so the translator does not struggle.<br /> <br /> =====2.2.2 Dialects=====<br /> <br /> Dialect embodies the local characteristics, is the author's own writing style. Sometimes it's a problem in translation. In the following example, we can see how the translator handles this problem.<br /> <br /> For example, &quot;伙计&quot; in English &quot;waiter&quot; ,&quot;铺盖卷&quot; in English &quot;bedrolls&quot; ,&quot;闺女&quot;is translated as &quot;real daughter&quot; ,&quot;她们认死理儿&quot; is translated as &quot;they don't know how to be flexible&quot;,&quot;只是这么多年过来，人就木了.&quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.<br /> <br /> In short, whether the use of rhetoric or dialect in literature, can fully reflect the author's writing style. Therefore, in literary translation, the translator should study the differences between the source language and the target language in the ways to express stylistic differences, and find out the best way to make up for these differences. In this way, literary translation can achieve maximum functional equivalence at the stylistic level.<br /> <br /> ====2.3 Functional Equivalence from Aspect of Culture====<br /> <br /> In the process of translation, the cultural difference between the two languages is also an issue that translators should pay attention to. People who come into contact with different cultures have different ways of thinking, values and social customs and so on. Translators need to understand the two cultures and fully express the cultural elements contained in the original text. At this time, translation plays a role in cross-cultural communication. The translator must present the cultural meaning shown or implied in the original text to the readers so that the translation can achieve the cultural equivalence with the original text. In this chapter, we will analyze the English translation of Folding Beijing from the perspective of food culture, folk culture and culture of idioms, so as to explain how it achieves the functional equivalence with the original text.<br /> <br /> =====2.3.1 Food Culture=====<br /> <br /> The city described by Beijing Folding is the political and cultural center of China, and it is a city with profound cultural deposits. There are a lot of contents belonging to traditional Chinese food culture in the novel. This part will analyze how the translator translates these delicacies to achieve functional equivalence.<br /> <br /> Example 1:<br /> &quot;…面前摆着一盘炒面或炒粉… &quot;(Jingfang Hao 2016:2)<br /> <br /> &quot;Each kid had a plate of chow mein or chow fun…&quot; (Ken Liu 2015)<br /> <br /> &quot;炒面&quot;is a well-known traditional snack in China. The translator makes it into &quot;chow mein&quot;, rather than &quot;Chinese stir-fried noodles&quot;. In the dictionary, &quot;chow mein&quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also makes it more intuitive for the reader to know what the food is.<br /> <br /> Example 2:<br /> &quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&quot;(Jingfang Hao 2016:32)<br /> <br /> &quot;…over a half bottle of baijiu…&quot; (Ken Liu 2015)<br /> <br /> The foreignizing translation is adopted here, &quot;白酒&quot; is translated into &quot;baijiu&quot; , the translator doesn't use the word like &quot;spirits&quot;, it not only retains Chinese cultural characteristics, but also achieves communicative effect.<br /> <br /> Example 3:<br /> &quot;哎，你们知道那儿一盘回锅肉多少钱吗？&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…how much they charge for an order of twice -cooked pork over there?&quot; (Ken Liu 2015)<br /> <br /> The special feature of this dish is that it is boiled in water and then stir-fried. The translator captures this feature in the translation, trying to make people understand the meaning of &quot;回锅&quot;, and this dish is made with pork, he wants readers of the English translation to see an image of the dish in their heads in the same way that Chinese people do.<br /> <br /> =====2.3.2 Folk Culture=====<br /> <br /> Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.<br /> <br /> Example 1:<br /> &quot;…几个人分吃两个菜…&quot; (Jingfang Hao 2016:2)<br /> <br /> &quot;…and they shared two dishes family-style.&quot; (Ken Liu 2015)<br /> <br /> &quot;分吃&quot; is the most common way of eating in traditional Chinese culture, where several dishes are shared among friends and family. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he use the word &quot;shared&quot; and he add the word &quot;family-style&quot; to make it easier for the reader to understand the behavior. <br /> <br /> Example 2:<br /> &quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&quot;(Jingfang Hao 2016:27)<br /> <br /> &quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&quot; (Ken Liu 2015)<br /> <br /> The culture of hometown is a major feature of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &quot;老乡&quot; from a geographical perspective. &quot;管事儿&quot;means to have some authority. The translator also explains this word so that readers can understand it easily.<br /> <br /> Example 2:<br /> &quot;一点心意，你收下。&quot; (Jingfang Hao 2016:23)<br /> <br /> &quot;Please accept this token of my appreciation.&quot;(Ken Liu 2015)<br /> <br /> In this passage, Yi Yan said that she hoped Lao Dao could help her keep a secret, so she wanted to give Lao Dao with money. &quot;心意&quot; means money, which is a euphemism used in China when it is inconvenient to offer money directly. In the translation, the translator also considered a euphemistic way of expression, so he used the word &quot;appreciation&quot;.<br /> <br /> =====2.3.3 Culture of Idioms=====<br /> <br /> Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.<br /> <br /> The author used many idioms in the article, such as &quot;饿虎扑食&quot;, the translator translated it into &quot;ate heartily&quot;, although the translation is easy to understand, but without the image that people are very hungry to eat, from the perspective of functional equivalence, English readers seem to be unable to reach the same level of understanding and response as Chinese readers. And &quot;（盘子）一片狼藉&quot;translated into &quot;The dishes were a mess&quot;, it is a brief description of the mess. And &quot;成人之美&quot; translated into &quot;in that case I'll have done a good deed by keeping silent&quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he was keeping secrets and that Yi Yan and Qin Tian might get together in the future. The translator abstractly translated the sentence in the English translation.<br /> <br /> ===Conclusion===<br /> <br /> From the analysis of the English translation of Folding Beijing from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of Folding Beijing to the English reader.<br /> <br /> Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is essentially the same as that of the source language readers, so the target language can be regarded as a functional equivalence translation. Analyzed from three aspects: meaning, style and culture &quot;Beijing fold&quot; English version, you can see on the language, while Chinese and English in logic and grammar are greatly different, there exist many differences in the Chinese culture and western culture, but the translator still tries his best to keep the content of the original text in the translation and find more appropriate words. In terms of some specific content, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction, which is of great value.<br /> <br /> ===References===<br /> <br /> [1] Hao Jingfang. Folding Beijing [J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy, 2015.<br /> <br /> [2] Nida, Eugene A. Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press,1993<br /> <br /> [3] Nida, Eugene A. Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001<br /> <br /> [4] Nida, Eugene A. &amp; Taber, Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2004<br /> <br /> [5] 郝景芳.孤独深处[M].南京：江苏凤凰文艺出版社，2016：1-40<br /> <br /> [6] 谭载喜.新编奈达论翻译[M].北京：中国对外翻译出版公司，1999<br /> <br /> [7] 许钧，穆雷.翻译学概论[M].南京：译林出版社，2009<br /> <br /> [8] 赵丹丹.浅论奈达的功能对等理论[J].文学教育，2011<br /> <br /> [9] 周兴阳.从功能对等理论视角看《北京折叠》英译本研究[J].新疆大学，2018<br /> <br /> [10] 王桂圆.系统功能语言学视角下《北京折叠》英译研究[J].海外英语，2018<br /> <br /> ==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==<br /> ===Abtract===<br /> ''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. <br /> ===Key Words===<br /> Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong<br /> ===题目 ===<br /> 功能对等理论下余光中译《不可儿戏》分析<br /> ===摘要===<br /> The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。<br /> ===关键词===<br /> 功能对等；《不可儿戏》；余光中<br /> ===Introduction===<br /> The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.<br /> <br /> Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.<br /> <br /> “The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.<br /> <br /> American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.<br /> <br /> The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.<br /> <br /> ===An Introduction of Functional equivalence===<br /> ====The Definition of Functional Equivalence====<br /> In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.<br /> <br /> ====Three Steps of Translation====<br /> Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.<br /> <br /> Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.<br /> <br /> Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.<br /> <br /> ===''The Importance of Being Earnest'' and Its Chinese Versions===<br /> ====An Introduction of Oscar Wilde and His Works====<br /> Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014). <br /> <br /> The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.<br /> <br /> As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.<br /> <br /> ====Chinese Versions of The Importance of Being Earnest====<br /> =====An Overview of Its Chinese Versions =====<br /> The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts.<br /> <br /> In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006). Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.<br /> <br /> =====Yu Guangzhong and His Chinese Version=====<br /> Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.<br /> <br /> He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.<br /> <br /> Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.<br /> <br /> ===The Application of Functional Equivalence to Yu Guangzhong’s Version===<br /> ====Translation Strategies of Yu Guangzhong’s Version==== <br /> =====Translation of the Drama Title=====<br /> So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).<br /> <br /> “Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”(Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference.<br /> <br /> =====Translation of Characters’ Names=====<br /> “Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration. <br /> <br /> Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. In Chinese, “任真” and “认真” are homonyms，like the English homonyms. Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. He translated the pun in English into the pun in Chinese. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English. It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience of the drama will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. <br /> <br /> In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.<br /> <br /> Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. When the audience heard of “梁勉仁”, they would realize that Algernon was a double-faced person at once. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, they expressed the same meaning that the person who named like that was double-faced, so the function of the original and the target language are the same. We guess that if Wilde writes this play in Chinese, he may use the same expression as Yu Guangzhong. Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality. <br /> <br /> In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning of the source language.<br /> <br /> =====Translation of Characters’ Dialogues=====<br /> Allusions refer to the stories or words and sentences in ancient books quoted in poems; idioms refer to the fixed and customary expressions in a language, including proverbs, slang, catchphrase, lexical phrase, habitual collocation, restricted collocation, and etc. “There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.<br /> <br /> ======Alliteration======<br /> &quot;Many English allusions and idioms are used in Wilde’s plays&quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.<br /> <br /> (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)<br /> 亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)<br /> In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just in order to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” in this dialogue actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.It is hard to translate alliteration in the target language. In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. In this example, he employed rhetorical devices in Chinese to replace alliteration. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”<br /> .<br /> (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)<br /> 蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)<br /> In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The form of the sentence has changed, while the meaning remained. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence”<br /> <br /> ======Paradox======<br /> (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor <br /> husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)<br /> 巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)<br /> Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ manners and thoughts and the bourgeois society of his time, Victorian era.In the above example, Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while Lady. Bracknell says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox. After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.<br /> <br /> (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?<br /> CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for <br /> publication. (Wilde, 2009)<br /> 亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?<br /> 西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)<br /> In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&quot;(Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text.<br /> <br /> ======Antithesis======<br /> <br /> (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)<br /> 亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)<br /> &quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul. <br /> <br /> (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)<br /> 劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)<br /> This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married. In order to persuade him, she compared the two reasons of not getting married. &quot;The former is understandable, while the latter is incomprehensible&quot;(Wen Tong, 2012). In example 6, Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.<br /> <br /> ====Suggestions on Translation from Yu Guangzhong’s Version====<br /> Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works. <br /> The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why The Importance of Being Earnest becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original. <br /> <br /> The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs. For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers.<br /> In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice.<br /> <br /> ===Conclusion===<br /> The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies. One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.<br /> <br /> ===References===<br /> Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.<br /> <br /> Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.<br /> <br /> Eugene A. Nida &amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.<br /> <br /> Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. 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(2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.<br /> <br /> Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.<br /> <br /> Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.<br /> <br /> Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.<br /> <br /> Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> =Applicaton of Translation Theories=<br /> ==Study of Application of Interpretive Theory in Interpretation 韩宛真 Han Wanzhen 202020080603== <br /> <br /> ===Abstract===<br /> With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. <br /> <br /> With the development of economic globalization,exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand.The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice. Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:58, 16 December 2020 (UTC)<br /> ===Key words===<br /> interpretive theory; interpretation,; translation strategies<br /> <br /> ===题目===<br /> 释意理论指导下的口译<br /> <br /> ===摘要===<br /> 随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。<br /> <br /> ===关键词===<br /> 释意理论；口译；翻译策略<br /> <br /> ===1.Introduction===<br /> In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.<br /> <br /> ===1.1 Introduction of Interpretive Theory===<br /> The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. <br /> <br /> The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)<br /> <br /> The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &quot;meaning&quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.(Kong Shaohui 2009, 127)<br /> <br /> Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &quot;implied meaning&quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. <br /> <br /> Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.<br /> <br /> The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can<br /> understand:The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &quot;thought that has not been expressed in words&quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.<br /> <br /> The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &quot;de-verbalization&quot;. Adding the process of breaking away from the language<br /> shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.<br /> <br /> The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.<br /> In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)<br /> <br /> ===1.2 Introduction of Interpretation===<br /> Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.<br /> Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.<br /> <br /> There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &quot;lightning thinking&quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &quot;simultaneous interpretation&quot; is almost impossible). (Ouyang Changyi 2010)<br /> <br /> Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &quot;simultaneous interpretation is a half-expert in any field.&quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)<br /> <br /> ===2. Literary Review===<br /> No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.<br /> <br /> ===2.1 The Research on Interpretive Theory===<br /> Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.<br /> <br /> The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &quot;interpretive&quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. <br /> <br /> At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. <br /> <br /> Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.<br /> <br /> It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.<br /> <br /> ===2.2 The Research on Interpretation under the Guide of Interpretive Theory===<br /> Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. <br /> <br /> With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.<br /> <br /> First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &quot;One Belt One Road&quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &quot;Black Technology&quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.<br /> <br /> On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.<br /> The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.<br /> <br /> ===3.Translation Strategies based on Interpretive Theory===<br /> Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.<br /> Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> ===3.1 Free Translation===<br /> The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。<br /> Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.<br /> &quot;而立之年&quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.<br /> 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。<br /> Translation: FOCAC is a valuable asset for China and Africa.<br /> &quot;金字招牌&quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.<br /> <br /> ===3.2 Addition of Message===<br /> Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)<br /> 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。<br /> Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.<br /> In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.<br /> 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。<br /> Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.<br /> From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.<br /> <br /> ===3.3 Positive and Negative Translation===<br /> <br /> As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:<br /> 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。<br /> Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.<br /> The sentences in the source text are all expressed by the negative &quot;cannot&quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.<br /> 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。<br /> Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.<br /> The source text is a negative sentence containing the negative “cannot&quot; when translated into English. The translator is telling the truth, the translation is &quot;at least&quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.<br /> <br /> ===Conclusion===<br /> In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.<br /> <br /> The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.<br /> The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)<br /> <br /> The interpretive theory is the hypothesis of &quot;beyond the shell of the source language&quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &quot;out of&quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)<br /> <br /> The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)<br /> <br /> In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &quot;departure from the source language&quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&quot;(Lederer 2001, 45-50)<br /> <br /> ===References===<br /> *Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &quot;Interpretive theory.&quot;: 1. <br /> <br /> *Dougherty, Ray C. (1969). &quot;An interpretive theory of pronominal reference.&quot; Foundations of Language: 488-519.<br /> <br /> *Gong Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.<br /> <br /> *Jackendoff, Ray S. (1969). &quot;An interpretive theory of negation.&quot; Foundations of language: 218-241.<br /> <br /> *Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.<br /> <br /> *Lederer Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.<br /> <br /> *Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.<br /> <br /> * Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.<br /> <br /> * Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]<br /> <br /> * Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.<br /> <br /> *Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.<br /> <br /> *Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.<br /> <br /> ='''Theory and Practise'''=<br /> <br /> <br /> ==The Development of Translation in Chinese Buddhist Scriptures 陈佳欣 Chen Jiaxin==<br /> <br /> ===Abstract===<br /> The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.<br /> <br /> ===Keywords ===<br /> Buddhist scriptures, Translation, Literal translation, Free translation<br /> <br /> ===摘要===<br /> 佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。<br /> <br /> ===关键词===<br /> 佛经，翻译，直译，意译<br /> <br /> ===Introduction===<br /> Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time. About the first century AD Buddhism entered China along trade routes from Central Asia. Thus, the translation of Buddhist scriptures came into being. Buddhism was widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.<br /> <br /> During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the form similarity and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. “The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation” (Sun Shanshan 2014, 174).<br /> <br /> In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three period. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposed that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposed to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang held that translation “must be truthful and intelligible to the populace”.<br /> <br /> === The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===<br /> The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.<br /> <br /> ==== An Shigao ====<br /> An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He totally translated 35 Buddhist Scriptures, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).<br /> <br /> ==== Zhi Chen ====<br /> Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. <br /> <br /> ==== Zhi Qian ====<br /> Zhi Qian, also known as Zhi Yue, is a Buddhist scripture translator during the Three Kingdoms period. He is the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignore the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. <br /> <br /> (2)The mainstream translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures. On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore then can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.<br /> <br /> (3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.<br /> <br /> === the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===<br /> The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.<br /> <br /> ====Shi Daoan ====<br /> Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he is also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. <br /> <br /> “‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&quot;Three Difficulties in Translation&quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.<br /> <br /> The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.<br /> <br /> ==== Kumarajiva ====<br /> Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &quot; the first class master of translation&quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He is one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translates 39 volumes. He is proficient in both Chinese and Sanskrit languages, and advocates that as long as the translation does not violate the original meaning, there is no need to follow the original form. “Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &quot;geyi&quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992, 186). He argued that “geyi” is the culprit of the deformation of India Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25). <br /> <br /> Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness. Another remarkable achievement is his contribution to the translation workshop. After he arrived Chang'an, he began to organize translation workshops. Under his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.<br /> <br /> ==== The Characteristics of This Period ====<br /> (1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).<br /> <br /> (2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads）are usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China，translators can take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there are more Sanskrit texts, they have more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.<br /> <br /> (3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.<br /> <br /> (4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).<br /> <br /> === Tang Dynasty ===<br /> The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously. In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age is Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.<br /> <br /> ==== Xuang Zang ====<br /> Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &quot; Sanzang Rabbi.&quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses, the number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).<br /> <br /> In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &quot;Doroni&quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &quot;bhaga&quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &quot;jumbu tree&quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &quot;Aunt Bodhi&quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &quot;prajna&quot; respect, &quot;wisdom&quot; is light and shallow. “The word &quot;Untranslatable&quot; here does not mean not translating, but rather &quot;not intended to translate&quot;, using transliteration”( Jian Xue 2018, 28).<br /> <br /> ==== The Characteristics of This Period ====<br /> (1) The translators are mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also has a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who are proficient in Sanskrit has gradually increased, and the translation work does not need to turn to foreign monks.<br /> <br /> (2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation programs possible.<br /> <br /> (3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty is more all-sided in organization. “According to records, The translation workshop of the Tang Dynasty has as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them are rabbis appointed by the court.<br /> <br /> (4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.<br /> <br /> (5) The translation scripts are more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believes that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.<br /> <br /> === The Influence of the Translation of Buddhist Scriptures ===<br /> The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> The influence of Buddhist scripture translation on Chinese is mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.<br /> <br /> “In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&quot;, &quot;Sutra” etc; some are words that we don’t realize, such as &quot;memory&quot;, &quot;world&quot;, &quot;now&quot;, &quot;causality&quot;, &quot;attachment&quot;, &quot;emptiness&quot;, &quot;reality&quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).<br /> <br /> The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to be the main motive.<br /> <br /> In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.<br /> <br /> === Conclusion ===<br /> The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.<br /> <br /> The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.<br /> <br /> By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.<br /> The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation<br /> <br /> === References ===<br /> Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223<br /> <br /> Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308<br /> <br /> Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.<br /> <br /> Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University <br /> <br /> Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.<br /> <br /> Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.<br /> <br /> Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. <br /> <br /> Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press<br /> <br /> Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &quot;Five Losses of Source Texts and Three Difficulties in Translation&quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.<br /> <br /> WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.<br /> <br /> Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.<br /> <br /> Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.<br /> <br /> He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.<br /> <br /> Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.<br /> <br /> Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.<br /> <br /> Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.<br /> <br /> ==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts'' 成于思 Cheng Yusi 202020080598 ==<br /> <br /> ==='''Abstract'''===<br /> André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the paper is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the paper will make a comparison of these two books to deepen readers' understanding of them.<br /> <br /> ===Key words===<br /> André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative Study of Chinese and Western Translation Principles'', “cultural turn”, John Dryden, translation principles<br /> <br /> ===题目===<br /> 《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析<br /> <br /> ===摘要===<br /> 安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。<br /> <br /> ===关键词===<br /> 安德烈·勒菲弗尔,《翻译，历史和文化论集》，刘宓庆，《中西翻译思想对比研究》，文化转向，约翰·德莱登，翻译原则<br /> <br /> ===1.Introduction===<br /> This paper presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, this paper is intended to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This paper will be divided into three parts.<br /> <br /> In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden compares a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014). Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.<br /> <br /> In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72). Finally, the author will show some scholars’ appraisals of this book.<br /> <br /> In part three, it intends to give a brief comparison of these two books in contents and forms.<br /> <br /> All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.<br /> <br /> ===2. Analysis of ''Translation, History and Culture: A Sourcebook''===<br /> <br /> ''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&quot;(Munday 2016,199). As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &quot;cultural turn&quot; of translation proposed by Translation Studies. <br /> <br /> In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &quot;a rewriting of an original text&quot;. Here, they explained that &quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&quot; (Lefevre 2003, xi). According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. <br /> <br /> In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii). <br /> <br /> Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &quot;cultural turn&quot;. The &quot;cultural turn&quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &quot;cultural turn&quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)<br /> <br /> If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &quot;cultural turn&quot;, Translation, History and Culture: A Sourcebook, with abundant case studies, is proved to be a good illustration of their thoughts. <br /> <br /> The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)<br /> <br /> I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. <br /> <br /> I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&quot;. (Lefevere 2003, 47). <br /> <br /> In this part, I will analyze John Dryden's three types of translation and his comparison of &quot;author and translator&quot; to &quot;master and slave&quot; through the excerpts collected in Translation, History and Culture: A Sourcebook. (Lefevere 2003, 24;102-105).<br /> <br /> Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2). The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &quot;author and translator&quot; to &quot;master and slave&quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii). Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.<br /> <br /> Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102).<br /> <br /> In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). <br /> <br /> Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating the poem in such a way is like &quot;dancing on ropes with fettered legs&quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103).<br /> <br /> Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&quot;.(Lefevere 2003, 103). <br /> <br /> As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103).<br /> <br /> Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. &quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&quot;.(Lefevere 2003, 104).<br /> <br /> It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &quot;he may stretch his chain to such a latitude&quot;.(Lefevere 2003, 105). In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. <br /> <br /> Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019).<br /> <br /> However, in Chapter Two, in &quot;Dedication&quot; to his translation of the Aeneid, Dryden argued that &quot;We are bound to our author's sense, though with the latitudes already mentioned&quot;.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. &quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&quot; (Lefevere 2003, 24). <br /> <br /> Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies. (Niu Yunping, 2014). <br /> <br /> A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &quot;classical writers&quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014).<br /> <br /> Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73). <br /> <br /> About the value of this book, Translation, History and Culture: A Sourcebook is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii).<br /> <br /> ===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===<br /> <br /> In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &quot;Sixiang&quot; (&quot;thought&quot; in Chinese) refers to &quot;principle&quot; in the West in this book. (Liu Miqing 2005, 2). <br /> <br /> In the FAQ passage, the author explained why he wrote this book. &quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&quot;(Liu Miqing 2005, i). It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. <br /> <br /> Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)<br /> <br /> The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33). <br /> <br /> He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43).<br /> <br /> The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39).<br /> <br /> Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150).<br /> <br /> Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &quot;emphasis on meaning&quot; and establish a new concept of &quot;emphasis on the meaning in communication&quot; (Liu Miqing 2005,179). <br /> <br /> The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288).<br /> <br /> However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288).<br /> <br /> Finally, Liu points out that western translation theory is &quot;technology-oriented&quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293).<br /> <br /> The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &quot;translation and language game&quot;, Liu puts forward that &quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402).<br /> <br /> Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i). This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44).<br /> <br /> Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflects the integration of religion and politics in foreign countries. (Liu Miqing 2005,44). For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987).<br /> <br /> Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &quot;all is vanity&quot;, &quot;being detached from worldly affairs&quot; and &quot;obedience&quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987). <br /> <br /> In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still touched by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46). <br /> <br /> As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but cleared the way to economic growth as well. Meanwhile, integrated translation paved the way for European integration. (Liu Miqing 2005, 101). <br /> <br /> The second characteristic of the tradition of Chinese translation is &quot;regulation to perfection&quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51). <br /> <br /> The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101). Moreover, Western translation principles give priority to &quot;Communicative Translation&quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104). <br /> <br /> The third characteristic is &quot;the focus on meaning as well as aesthesis&quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52).<br /> <br /> Wang Guowei pointed out that the word &quot;Nao&quot; in the verse &quot;Hong Xing Zhi Tou Chun Yi Nao&quot; conveys the Jingjie of the whole poem. (Wang Guowei 2017,15). Therefore, if one attempts to translate the poem, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility. It expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104).<br /> <br /> Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006). <br /> <br /> Lu Wei and Li Defeng shed light on the topic &quot;translation theories with Chinese characteristics&quot; and argued that Liu Miqing's A Comparative Study of Chinese and Western Translation Principles provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010).<br /> <br /> ===4. Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===<br /> <br /> ===4.1 From the aspect of the content===<br /> Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. Translation History and Culture: A Sourcebook concentrates on Western translation principles before contemporary translation studies. While A Comparative study of Chinese and Western Translation Principles analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. <br /> <br /> Meanwhile, they boast their distinctive writing style. In Translation History and Culture: A Sourcebook, Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracted other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)<br /> <br /> ===4.2 From the aspect of the arrangement===<br /> Both of these two books are arranged in theme, rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. The longer essays are collected in the last chapter. Liu arranges his book differently.<br /> <br /> Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', including the characteristics, origins, schools and limitations of Chinese and western translation, Liu not only quotes other’s statement, he applies many tables to demonstrate his thoughts, which helps the readers better understand translation principles.<br /> <br /> ===Conclusion===<br /> In conclusion, the paper is intended to help readers to understand these two books in depth. After a brief introduction of these two books, it analyzes John Dryden’s three types of translation and his comparison of translator to slave and figures out the reason for the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper made a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learns translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.<br /> <br /> ===References===<br /> André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp; Francis e-library.<br /> <br /> André Lefevere &amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;New York: Pinter Publishers.<br /> <br /> Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.<br /> <br /> Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.<br /> <br /> Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp; Francis Group.<br /> <br /> Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp; Publishing Corporation中国对外翻译出版公司.<br /> <br /> Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp; Technology Translators Journal 23(02):11-14+29.<br /> <br /> Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.<br /> <br /> Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.<br /> <br /> Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.<br /> <br /> Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> ==The development and future trend of translation Theory 张慧 Zhang Hui 202070080622 英语笔译==<br /> <br /> ===Abstract===<br /> This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.<br /> ===Key Words===<br /> Chinese and Western, translation theory, development, trend<br /> ===摘要===<br /> 本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。<br /> ===关键词===<br /> 中西方，翻译理论，发展，趋势<br /> ===Introuction===<br /> Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.<br /> <br /> Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)<br /> ===The Four Periods of Development of Chinese Translation Theory===<br /> <br /> Ancient Translation Period<br /> <br /> The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）<br /> <br /> Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &quot;seeking the truth&quot; and &quot;using the vulgar&quot; in the translation process. He also established the principle of &quot;five not to turn,&quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）（quotation missing）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> Translation of the Late Qing Dynasty and Early Republic of China<br /> <br /> A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）<br /> <br /> Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）<br /> <br /> Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）<br /> <br /> His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）（paragraph too long）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)<br /> <br /> In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.<br /> <br /> Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: <br /> <br /> (1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.<br /> <br /> Translation Theory in the Republic of China<br /> <br /> Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &quot;shenyun translation&quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）<br /> <br /> Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）<br /> <br /> After the Founding of the People’s Republic of China<br /> <br /> The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）<br /> <br /> Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）<br /> ===Prospects for the Development of Contemporary Chinese Translation Theory===<br /> <br /> Emphasis on the study of basic translation theory <br /> <br /> Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> “Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). <br /> <br /> In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). <br /> <br /> Innovation of ontology<br /> <br /> Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) <br /> <br /> Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )<br /> <br /> ===The Historical Development of Western Translation Theory and Its Classification===<br /> <br /> Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. <br /> <br /> The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)<br /> <br /> <br /> The School of Thought and the Main Characteristics of Western Translation Theory<br /> <br /> Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.<br /> <br /> Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. <br /> <br /> The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. <br /> <br /> These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. <br /> <br /> Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. <br /> <br /> Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. <br /> <br /> The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)<br /> <br /> The Response of Western Translation Theory in China’s Translation Industry<br /> <br /> As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. <br /> <br /> Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)<br /> <br /> ===Analysis of Theoretical Research Status===<br /> <br /> Descriptive Analysis of Translation Theory Research<br /> <br /> First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)<br /> <br /> Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.<br /> Third, researchers and institutions. <br /> <br /> The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)<br /> Systematic Analysis of Translation Theory Research<br /> <br /> First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.<br /> <br /> Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.<br /> <br /> Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.<br /> <br /> Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. <br /> <br /> Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. <br /> <br /> This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.<br /> <br /> Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).<br /> <br /> The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. <br /> <br /> The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.<br /> <br /> ===Trends in Translation Theory Research===<br /> <br /> Interdisciplinary cooperation and integration<br /> <br /> Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. <br /> <br /> In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）<br /> <br /> Return to culture development<br /> <br /> The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.<br /> <br /> Seeking Common Ground while Surviving Differences in Cultural Translation<br /> <br /> Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）<br /> <br /> ===Conclusion===<br /> <br /> From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.<br /> <br /> ===References===<br /> <br /> [1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.<br /> <br /> [2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.<br /> <br /> [3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.<br /> <br /> [4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.<br /> <br /> [5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.<br /> <br /> [6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.<br /> <br /> [7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.<br /> <br /> [8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.<br /> <br /> [9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.<br /> <br /> [10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.<br /> <br /> [11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.<br /> <br /> ==A Cultural Critique of Foreignization and Domestication 吴子佳 Wu Zijia==<br /> <br /> ==='''Abstract'''===<br /> Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.<br /> <br /> ==='''Key words'''===<br /> <br /> Domestication foreignization cultural-overloaded words cross-cultural communication.<br /> <br /> ==='''摘要'''===<br /> <br /> 归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。<br /> <br /> ==='''关键词'''===<br /> <br /> 归化，异化，文化负载词，跨文化交流<br /> <br /> <br /> ===''' Introduction of Domestication and Foreignization '''===<br /> <br /> Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）<br /> <br /> On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.<br /> Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）<br /> <br /> For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku）<br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞” cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku）<br /> <br /> ==='''Analysis on Culture Differences in Translation'''===<br /> <br /> Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. <br /> <br /> Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）<br /> <br /> So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &quot;dog&quot; is mostly unpleasant, so the metaphor of &quot;dog&quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）<br /> <br /> On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &quot;dog&quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）<br /> <br /> Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &quot;rice&quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &quot;bread and butter,&quot; &quot;big potato&quot;,”hot potato” and &quot;couch potato.&quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）<br /> <br /> ===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===<br /> <br /> 1. Practice of foreignization and domestication in tourism culture<br /> <br /> The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)<br /> <br /> Example 1:<br /> <br /> 路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字<br /> To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))<br /> Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> Example 2<br /> <br /> 云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。<br /> Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.<br /> Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)<br /> <br /> <br /> Example 3<br /> <br /> 花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)<br /> 孤山: Gushan (Solitary Hill) <br /> 湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。<br /> Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”<br /> Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> <br /> Example 4 <br /> <br /> Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)<br /> <br /> Example 5<br /> <br /> 她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。<br /> It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.<br /> The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> Example 6<br /> <br /> 四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。<br /> Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. <br /> By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)<br /> <br /> 2. Practice of Foreignization and Domestication in Food Culture<br /> <br /> With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）<br /> <br /> For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）<br /> <br /> Example 7<br /> <br /> 番茄牛腩(tomato and beef brisket)<br /> This translation consists of main ingredient and ingredient.<br /> 砂锅面(casserole noodles)<br /> This translation consists of utensils and ingredients.<br /> 淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)<br /> This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.<br /> 炒酸菜, 手抓饼(sauerkraut, shredded cake)<br /> This translation consists of the cooking method or eating method and ingredients.<br /> Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）<br /> <br /> Example 8<br /> <br /> 蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)<br /> This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.<br /> 霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)<br /> This translation is named after historical allusions.<br /> 驴打滚 (打糕) :Donkey roll (beating cake)<br /> This translation is named according to the production process metaphor. <br /> 佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).<br /> This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）<br /> <br /> Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.<br /> <br /> Example 9<br /> <br /> “叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &quot;Baked Chicken&quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)<br /> <br /> <br /> If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)<br /> <br /> Example 10<br /> <br /> Some foods are usually translated in the form of &quot;Hanyu Pinyin + English notes&quot; in order to retain certain characteristics.<br /> For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）<br /> <br /> For example, &quot;豆腐&quot; translates as &quot;Toufu&quot;; &quot;馄饨&quot; translates as &quot;Wonton&quot;. The translation of四一丸子:&quot;Four Happy Meatballs&quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）<br /> <br /> 3. Practice of Foreignization and Domestication in Diplomacy<br /> <br /> Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）<br /> <br /> Example 11<br /> <br /> 我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。<br /> What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.<br /> In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）<br /> <br /> Example 12<br /> <br /> “投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）<br /> To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.<br /> This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）<br /> <br /> Example 13<br /> <br /> 耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）<br /> &quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.<br /> This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）<br /> <br /> Example 14<br /> <br /> “滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）<br /> <br /> &quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.<br /> This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）<br /> <br /> Example 15<br /> <br /> 我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）<br /> <br /> If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&quot;稻草、吸管&quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）<br /> <br /> ===''' Conclusion '''===<br /> <br /> Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.<br /> <br /> ===''' References '''===<br /> <br /> * Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.<br /> * Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.<br /> * Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.<br /> * Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.<br /> * Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.<br /> * Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.<br /> * Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.<br /> * Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&quot;Foreign Ministry Press Statement&quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.<br /> <br /> ='''Contemporary Translation Studies'''=<br /> <br /> <br /> ==A Study On the Influence of Linguistics on the Construction of Translatology 孔祥慧 Kong Xianghui 202020080608==<br /> &lt;center&gt;孔祥慧 Kong Xianghui &lt;/center&gt;<br /> ==='''Abstract'''===<br /> Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .<br /> <br /> ==='''Key words'''===<br /> Translatology;Linguistic;Discipline Construction<br /> <br /> ===摘要===<br /> 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。<br /> <br /> ===关键词===<br /> 翻译学；语言学；学科构建<br /> <br /> ==='''1.Introduction'''===<br /> Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）<br /> <br /> For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）<br /> <br /> This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.<br /> <br /> ==='''2.Literature review '''===<br /> This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. <br /> <br /> '''2.1Studies on the construction of translatology aboard'''<br /> <br /> In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.<br /> <br /> Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.<br /> <br /> J.C. Catford in his book ''A Linguistic Theory of Translation'' (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.<br /> <br /> Holmes published ''The Name and Nature of Translation Studies'' at The Third International Conference on Applied Linguistics in 1972, which was &quot;widely regarded as the founding declaration of the discipline of translation studies&quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.<br /> <br /> In 1982, Wolfram Wilss published ''the Science of Translation: Problems and Methods'', clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.<br /> <br /> Newmark is also a representative figure in the field of translation. In his book ''Exploration of Translation'' (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.<br /> <br /> Hatim &amp; Mason, whose representative work is ''Discourse and the Translator'' (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.<br /> <br /> Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.<br /> Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published ''Translation and Conflict'': A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.<br /> <br /> '''2.2 Studies on the construction of translatology at home'''<br /> <br /> In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology in China made great progress.<br /> <br /> In 1951, Dong Qius, a famous Chinese translator, published his article ''On the Construction of Translation Theory''. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.<br /> <br /> In 1987, Tan Zaixi clearly put forward the view that &quot;translation studies are an independent subject&quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published ''On Approaches to Translation Studies''. In this paper, Tan mainly distinguished two concepts of &quot;translation&quot; and &quot;translatology&quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.<br /> <br /> In the thesis ''An Overview of Western Translation Theory'' (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.<br /> <br /> In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.<br /> <br /> At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.<br /> <br /> Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published ''Constructing The Linguistic Basis of Translation Studies'' (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.<br /> <br /> Yi Jing published his doctoral thesis ''On The Construction of Translation Studies'' (2009), which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis ''On The Construction of Translation Studies'' in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.<br /> <br /> Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.<br /> <br /> In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in ''Translation View in Cognitive Linguistics'' proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.<br /> <br /> Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.<br /> <br /> From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.<br /> <br /> ==='''3.The Construction of Translatology '''===<br /> <br /> In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.<br /> <br /> '''3.1Translation and Translatology'''<br /> <br /> &quot;Translation&quot; and &quot;translatology&quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)<br /> <br /> In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &quot;translatology&quot; is used to refer to translation studies.&quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&quot;.（Liu Zhongde，1995）<br /> Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.<br /> <br /> '''3.2 Three Stages of Translatology'''<br /> <br /> Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.<br /> <br /> '''3.2.1 Early translation practice'''<br /> <br /> Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)<br /> <br /> '''3.2.2 The awareness of an academic discipline'''<br /> <br /> Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &quot;translation must become an independent discipline&quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.<br /> <br /> Such a group of people also appeared in modern China. Lin Yutang used the word &quot;translation studies&quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）<br /> <br /> '''3.2.3 The rapid development stage of translation studies'''<br /> <br /> Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018)<br /> Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.（Wikipedia）<br /> <br /> ==='''4.The Influence of Linguistics on the Construction of Translatology'''===<br /> <br /> For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.<br /> <br /> 4.1 Contributions of early linguists to translation<br /> <br /> As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.<br /> Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &quot;signifier&quot; and &quot;signified&quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）<br /> <br /> These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.<br /> <br /> 4.2 Translation studies based on linguistic theory<br /> <br /> In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.<br /> <br /> 4.2.1 The influence of Structuralist linguistics<br /> <br /> Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &quot;pure linguistic forms&quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.(Lvjun，2004)<br /> <br /> Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &quot;the science of translation&quot; and &quot;dynamic equivalence/Functional equivalence&quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &quot;six-level equivalence theory&quot; .(Yi Jing,2012)<br /> <br /> Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.（Zou Bin,Mu Lei,2020)<br /> <br /> 4.2.2 The influence of discourse linguistics<br /> <br /> For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002）<br /> Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics.<br /> The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）<br /> <br /> 4.2.3 The influence of contemporary linguistics<br /> <br /> As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）<br /> <br /> Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.(Liao Qiyi， 2000)<br /> <br /> 4.3 The experience of the construction of linguistics<br /> <br /> In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.<br /> <br /> 4.4.1 Discipline development<br /> <br /> Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.（Kong Xiangli，2009）<br /> The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.<br /> <br /> 4.4.2 Discipline structure<br /> <br /> Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.<br /> From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.（Yi Jing，2009）<br /> Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.<br /> <br /> 4.4.3 Development Trend of discipline<br /> <br /> Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.<br /> In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）<br /> <br /> ==='''5.Conclusion'''===<br /> Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.<br /> <br /> ==='''References'''===<br /> Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.<br /> <br /> Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.<br /> <br /> Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''<br /> <br /> Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.<br /> <br /> Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. 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''中国外语''[Foreign Languages in China] 77-84.<br /> <br /> ==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658==<br /> <br /> ==='''Abstract'''===<br /> <br /> With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.<br /> <br /> ==='''Key words'''===<br /> <br /> Translation Studies, translation education, translation talents<br /> <br /> ==='''题目'''===<br /> <br /> 对中国翻译学学习的反思<br /> <br /> ==='''摘要'''===<br /> <br /> 随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析学习翻译学科目前存在的问题，并提出相关的建议。 <br /> <br /> ==='''关键词'''=== <br /> <br /> 翻译学，翻译教育，翻译人才<br /> <br /> <br /> ==='''1. Introduction'''===<br /> <br /> 1.1. The Connotation of Translation Studies<br /> <br /> Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &quot;''The Name and Nature of Translation Studies''&quot;, is a basic statement of translation studies: it calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, including comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.<br /> Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation Studies can examine the practice and background of translating professional texts (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. <br /> <br /> Learning these contents enables students to apply their theoretical understanding to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually include the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills needed to solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.<br /> <br /> 1.2. The Significance of Translation Study<br /> With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. At the same time, as today's multicultural and multilingual society requires effective, efficient and understanding communication between languages and cultures, translation skills have become more and more important and desirable. <br /> <br /> As a science, Translation Studies has always had its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can understand the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. This is also the necessity for translators to learn Translation Studies.<br /> <br /> ==='''2. The Development Process of Translation Studies in China'''===<br /> <br /> Translation activities has appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, the flourishing period of Translation Studies.<br /> <br /> 2.1. The Exploration Period of Translation Studies <br /> <br /> In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, Almost no. What we have are some translation regulations and fragments of experience for temporary reference.&quot; He clearly called for the establishment of &quot;a complete translation theory system&quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared in history.<br /> <br /> However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have become increasingly single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc. At that time, because a large number of people who understand foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to strengthen foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under foreign language and literature, but the distinction between translation teaching and language teaching has gradually become clear.<br /> <br /> 2.2. The Development Period of Translation Studies<br /> <br /> At the beginning of this period, it was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. At this stage, some masters and doctors in translation studies joined the construction team translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation desperately. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of &quot;''China Translator''&quot; in 2004 come to congratulate. Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.(Huang Zhongqian, Zhang Xiao 2020) Translation research ideas, methods, space and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.<br /> <br /> 2.3. The Flourishing Period of Translation Studies<br /> <br /> In 2011, the Ministry of Education adjusted the discipline catalog and listed &quot;Translation Studies&quot; as a second-level subject under the first-level discipline of &quot;Foreign Languages and Literature&quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction. In the flourishing period, the construction of translation disciplines and the development of translation majors in China have shown a new look. Many levels have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training. There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.<br /> <br /> ==='''3. Challenges of Learning Translation Studies in China'''===<br /> <br /> The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. China's translation discipline has now entered a new stage, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.<br /> <br /> 3.1. Translation Education<br /> <br /> With the establishment of the status of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the training of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better. However, China's translation education started and developed after the reform and opening up, is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, and systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.<br /> <br /> 3.1.1. Orientation of the Cultivation of Translation Talents<br /> <br /> At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to the unclear concept of the cultivation of translation talents. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation professional teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market. (Zhong Weihe 2019)Due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.<br /> <br /> 3.1.2. Faculty Resources<br /> <br /> The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. The problem of translation teachers has always been a bottleneck problem that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data show that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &quot;''National Standard of Part-time Teacher in MTI Education'' &quot;. (Zhong Weihe 2019) In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.<br /> <br /> 3.1.3. Teaching method<br /> <br /> Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2020) For example, this kind of teaching method that ignores student autonomy is entirely a teacher-centered teaching model, which will place too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.<br /> <br /> 3.1.4 Translation Teaching Research<br /> <br /> The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is rare. besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play.(Bo Zhenjie, Li Heqing 2011) However, combining actual translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but not deep into the actual situation.<br /> <br /> 3.2. Students<br /> <br /> The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.<br /> <br /> 3.2.1. Low level of commitment to translation learning<br /> <br /> Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between the word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.<br /> <br /> 3.2.2. Insufficient background knowledge <br /> <br /> Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not grasp sufficient background information. With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. (Xie Zhentian, 2015) Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.<br /> <br /> 3.2.3. Neglect of theoretical knowledge<br /> <br /> At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）<br /> <br /> ==='''4. Suggestions for the Learning of Translation Studies'''===<br /> <br /> In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved according to the development of times. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote the development of Translation Studies in China.<br /> <br /> 4.1. Translation Education<br /> <br /> 4.1.1. Improve Teaching Mode<br /> <br /> The teaching model is an important basic guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation or current affairs. Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to make something new. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. The objective teaching method is a teaching mode that can be introduced in translation teaching. This type of mode attaches great importance to the construction of learning environment and the value of teachers' guidance to students. (Ou Yonghua 2019) This is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.<br /> <br /> 4.1.2. Strengthen Faculty Force<br /> <br /> Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and first-line translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)<br /> <br /> 4.1.3. Broaden the academic vision of translation<br /> <br /> Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which is a comprehensive academic research of the discipline. Carry out the provision of roadmap (Lan Hongjun, 2018); the second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary and integration, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)<br /> <br /> 4.2. Students <br /> <br /> The quality of translation talents plays a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.<br /> <br /> 4.2.1. Expanding knowledge<br /> <br /> Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future, in addition to having a solid foundation in language ability, they should also take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills. A very good way to expand their knowledge is to improve their search ability. Search ability, specifically, refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students is urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)<br /> <br /> 4.2.2. Emphasize theory and practice more<br /> <br /> Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics, not only the translation skills and theories，but also practice more. Theories that are out of practice cannot keep up with the development of the times. Students must spend enough time in practicing. They can go to the front line of production or go deep into all aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.<br /> <br /> ==='''5.Conclusion'''===<br /> <br /> This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the concept of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Those engaged in translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and so on. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.<br /> <br /> President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies were not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, draw on the latest foreign translation theories, combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. (Zhong Weihe, Zhao Tianyuan 2020) The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.<br /> <br /> ==='''References'''===<br /> Holmes, James S. (1972). The Name and Nature of Translation Studies. ''Papers on Literary Translation and Translation Studies''. 67–80.<br /> <br /> Bo Zhenjie, Li Heqin.薄振杰,李和庆.(2011).关于当前中国翻译教学研究的思考.[ Reflection on the Current Research of Translation Teaching in China].外语界[''Foreign Language World''] 76-83.<br /> <br /> Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].<br /> <br /> Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.<br /> <br /> Jiang Feifei.姜菲菲.(2019).中国文化走出去背景下对翻译学科的综述. [A Summary of Translation Studies from the Background of Outputting Chinese Culture].校园英语[''English Campus'']7-8. <br /> <br /> Lan Hongjun.蓝红军.(2018)从学科自觉到理论建构:中国译学理论研究(1987-2017). [Theoretically Oriented Translation Studies in China: 1987 - 2017].中国翻译[''Chinese Translators Journal'']7-16<br /> <br /> Mu Lei, Li Xixi.穆雷, 李希希.(2019).中国翻译教育研究:现状与未来.[ Research on Translation Education in China: Status Quo and Future] .外语界[''Foreign Language World''] 24-32.<br /> <br /> Ou Yonghua.(2019).新时期中国翻译教学研究思考概述. [An Overview of Researches on Chinese Translation Teaching in the New Era].课程教育研究[''Course Education Research''] 13.<br /> <br /> Xi Jinping.习近平.(2016).在哲学社会科学工作座谈会上的讲话.[ Speech at the Symposium on Philosophy and Social Sciences].新华网[xinhuanet].<br /> <br /> Xie Zhentian.谢天振.(2015).翻译巨变与翻译的重新定位与定义——从2015年国际翻译日主题谈起.[ Great Changes in Translation and Repositioning and Definition of Translation——Starting from the theme of the International Translation Day in 2015].东方翻译[''East Journal of Translation''] 4-8. <br /> <br /> Wang Baigula.王白古拉.(2018).中国翻译教学现状与复合型翻译人才培养. [The Status Quo of Translation Teaching in China and the cultivation of Interdisciplinary Translators].文存阅刊[''Wen Cun Journal''] 87.<br /> <br /> Wang Na.王娜. (2020).MTI在校生搜索能力不足成因分析. [An Analysis of the Causes of Insufficient Searching Ability of MTI Students].海外英语[''Overseas English''] 194-195.<br /> <br /> Zhong Weihe.仲伟合.(2019).改革开放40年我国翻译专业教育:成就、挑战与发展. [China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.<br /> <br /> Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.<br /> <br /> ==The influence of translator's cultural identity on translation 周玉娟 Zhou Yujuan 202020080674 亚非语言文学波斯语方向 ==<br /> ===Abstract===<br /> Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.<br /> <br /> ===Keywords===<br /> translation; translator; cultural identity; Shakespeare's plays<br /> <br /> ===摘要===<br /> 梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。<br /> <br /> ===关键词===<br /> 翻译；译者；文化身份；莎士比亚剧<br /> <br /> ===Introduction===<br /> Translating a work is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important active role in both translating the content and interpreting it, and the translator is the first person who is in direct contact with the original text.<br /> <br /> Benjamin, the famous German literary critic, once said : &quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &quot;cultural identity&quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)<br /> <br /> There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.<br /> <br /> === Introduction to the identity of the translator===<br /> Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.<br /> <br /> Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.<br /> <br /> &quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&quot; (Xi Yongji. 2007:245)<br /> <br /> ====Zhu Shenghao's Cultural Identity====<br /> Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.<br /> <br /> In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.<br /> <br /> Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on naturalization strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.<br /> <br /> ====Liang Shiqiu's Cultural Identity====<br /> Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.<br /> <br /> However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &quot;All civilization is the original creation of a very few geniuses&quot;, &quot;literature and art are the original creation of a few geniuses&quot;, &quot;there is no literature and art for the majority, and literature and art are not for the majority &quot;. (Liang Shiqiu: R.O.C. 23) &quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&quot; <br /> As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12) <br /> <br /> We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &quot;genius literature&quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese literary world. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.<br /> <br /> ====Foreignization and domestication Strategies====<br /> According to Venuti, domestication is &quot;bringing the original author into the desired language and culture of the translation&quot;, while dissimilation is &quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&quot; (Venuti, 1995:20). (Venuti, 1995:20)<br /> <br /> Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.<br /> <br /> The method of Foreignization is: &quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.<br /> <br /> ===The cultural identity of translators in translation===<br /> First, the translator is the second pair of eyes of the reader. &quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.<br /> <br /> Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.<br /> <br /> ====In terms of the original intention of translation====<br /> The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &quot;interest&quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao himself said, &quot;I love Shakespeare's plays so much and so only that I have tried to read the whole text at least ten times from the beginning to the end. ......&quot; Zhu's love for Shakespeare is so strong that &quot;He was so passionate about Shakespeare that he would not stop reading Shakespeare, not eating it. <br /> <br /> In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.<br /> <br /> Liang Shiqiu believes that there is a distinction between elegant and vulgar literature, genius is to appreciate literature, the general public to read are popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &quot;the highest art only a few people can understand ......, literature and art is not the majority.&quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &quot;literature is created by genius&quot;.<br /> <br /> When he studied at Harvard University, he took the course &quot;Literary Criticism after the Sixteenth Century&quot; by the American neoclassicist Byrd Byrd, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &quot;preserve the most authentic things&quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &quot;hard translations&quot; and &quot;bent translations&quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)<br /> <br /> ====In terms of the content of the translation (taking the translation of Shakespeare as an example)====<br /> Zhu Shenghao stated at the beginning of his translation: &quot;My aim in translating this book is, first, to maintain the charm of the original work to the greatest extent possible, and then to consider the second point if it is not feasible, that is, to convey faithfully the meaning and feelings of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao's translation of Sha plays more attention to the performance function of drama.<br /> <br /> For example: ( the translation of Zhu Shenghao)<br /> EGEUS: Stand forth，Demetrius． My noble lord，<br /> 伊吉斯:走上前来，狄米特律斯。殿下，这个人，<br /> This man hath my consent to marry her．<br /> 是我答应把我女儿嫁给他的<br /> Stand forth，Lysander．<br /> 走上前来，拉山德。<br /> And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）<br /> 殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）<br /> <br /> In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &quot;purified&quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. <br /> For example, his translation. <br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，<br /> Or I will shake thee from me like a serpent． (Ⅲ． ⅱ) (莎士比亚.2011:110)<br /> <br /> 拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!<br /> 否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。<br /> <br /> Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &quot;faithfulness and fidelity&quot;. The style of &quot;faith&quot; and &quot;faithfulness&quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.<br /> <br /> First: Stay true to the original text and try not to delete or subtract from it.<br /> LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ． ⅱ) (莎士比亚.2001:110)<br /> <br /> Translation of Liang Shiqiu:<br /> 赖， 走开，你这个猫，你这个缠人的东西! 下流的东西，松手，<br /> 否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。<br /> <br /> HELENA She was a vixen when she went toschool: <br /> And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)<br /> <br /> Translation of Liang Shiqiu:<br /> 海 上学时她就是个狐狸精。<br /> 她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。<br /> <br /> Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &quot;Shakespearean&quot;. &quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&quot;. (Liang Shiqiu. 1966) <br /> Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. <br /> For example, a fragment of Liang Shiqiu's translation of Hamlet.<br /> <br /> Queen. There is a willow grows aslant a brook,<br /> That shows his hoar leaves in the glassy stream;<br /> There with fantastic garlands did she come,<br /> Of crow-flowers, nettles, daisies, and long purples,<br /> That liberal shepherds give a grosser name.<br /> But our cold maids do dead man’s fingers call them:<br /> There, on the pendent boughs her coronet weeds<br /> Clambering to hang ,an envious sliver broke,<br /> When down her weedy trophies and herself<br /> Fell in the weeping brook. Her clothes spread wide;<br /> And, mermaid-like, awhile they bore her up;<br /> Which time she chanted snatches of old tunes; As one<br /> incapable of her own distress,<br /> Or like a creature native and indu’d<br /> Unto that element: but long it could not be<br /> Till that her garments ,heavy with her drink,<br /> Pull’d the poor wretch from her melodious lay<br /> To muddy death.<br /> （shakespeare, hamlet, act Ⅳ, scenceⅦ）<br /> <br /> The translation of Liang Shiqiu：<br /> 河边有一株斜长着的杨柳，白叶倒映<br /> 在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，<br /> 扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯<br /> 洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去<br /> 挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入<br /> 呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会<br /> 儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像<br /> 是水下生长的动物似的；但是这情形没有多久，她的衣服湿<br /> 透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的<br /> 死所去了。<br /> <br /> ===Conclusion===<br /> The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. <br /> <br /> For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. <br /> <br /> By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.<br /> <br /> ===References===<br /> Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．<br /> <br /> Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)<br /> <br /> Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary]. 台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.<br /> <br /> Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.<br /> <br /> Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128.. <br /> <br /> Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.<br /> <br /> Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.<br /> <br /> Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．<br /> <br /> Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．<br /> <br /> Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004<br /> <br /> Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.<br /> <br /> Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001<br /> <br /> Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．<br /> <br /> Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.<br /> <br /> ==Descriptive translation studies 曹润鑫 Cao Runxin==<br /> <br /> ===Abstract===<br /> The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.<br /> <br /> ===Key words===<br /> Descriptive translation studies; Translation studies<br /> <br /> ===摘要===<br /> 描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍<br /> <br /> ===关键字===<br /> 描述翻译学；翻译研究<br /> <br /> ===Introduction===<br /> Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &quot;faithfulness&quot; and &quot;equivalence&quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.<br /> <br /> Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &quot;cultural shift&quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &quot;faithful&quot; and &quot;reciprocal&quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.<br /> <br /> In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &quot;how translation should be&quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.<br /> <br /> ===Tuli and ''Descriptive translation''===<br /> The concept of &quot;descriptive translation&quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &quot;The Name and Reality of Translation Studies&quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.<br /> <br /> Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.<br /> <br /> In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&quot;. [3]<br /> <br /> According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &quot;(more) objective&quot; norms, while the latter are &quot;(more) subjective&quot; i.e. &quot;less objective&quot;. The concept of the This concept is very important in its theoretical system.<br /> <br /> He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]<br /> <br /> According to Tuli, &quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.<br /> Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &quot;translations&quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent. &quot;Exoticism&quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &quot;translation tone&quot; in the text. Due to the real existence of &quot;translation cavity&quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &quot;translation cavity&quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.<br /> <br /> Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &quot;credible&quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112<br /> <br /> According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.<br /> <br /> Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.<br /> <br /> In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &quot;meta-prescriptive&quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &quot;translation studies can never be merely descriptive&quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.<br /> <br /> === Hermanns and ''Translation in Systems''===<br /> The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.<br /> <br /> Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &quot;norm&quot; and Chesterman's &quot;norm&quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.<br /> <br /> The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &quot;reciprocity&quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &quot;norm&quot; and introduces the &quot;norm&quot; proposed by Tully and the &quot;norm&quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.<br /> <br /> Scholars who study descriptive translation have proposed that literature should be regarded as &quot;a complex and dynamic system&quot;, and that literary translation studies should &quot;adopt a descriptive, target-language-based, functional and systematic research approach&quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.<br /> <br /> ===Conclusion===<br /> Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.<br /> <br /> ===References===<br /> [1]李红满.论当代西方翻译研究范式的转变[J].外语与翻译, 2002 (2) .<br /> <br /> [2]张美芳.翻译学的目标与结构——霍姆斯的译学构想介评[J].中国翻译, 2000 (2) .<br /> <br /> [3]Toury, Gideon.Descriptive Translation Studies and Beyond[M].Shanghai:Shanghai Foreign Language Education Press, 2001.<br /> <br /> [4]林克难.翻译研究:从规范走向描写[J].中国翻译, 2001 (6) .<br /> <br /> [5]Vermeer, Hans J.A Skopos Theory of Translation[M].Heidellburg:TEXT-con, 1996.<br /> <br /> [6]Venuti.Lawrence.The Translator’s Invisibility[M].A History of Transla-tion.London&amp;New York:Routledge, 1995.<br /> <br /> [7]Snell-Homby, Mary.Translation Studies.AnIntegrated Approach[M].Re-vised ed.Amsterdam:John Benjamins, 1995.<br /> <br /> [8]Hemans, Theo, ed.The manipulation of Literature[M].London&amp;Sydney:Croom Helm, 1985.<br /> <br /> [9]韩子满, 刘芳.描述翻译研究的成就与不足[J].外语学刊, 2005 (3) .<br /> <br /> [10]谢天振.翻译研究新视野[M].青岛:青岛出版社, 2003.<br /> <br /> [11]张南峰.从梦想到现实——对翻译学科的东张西望[J].外国语, 1998 (3) .<br /> <br /> == An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==<br /> ==Translation Strategies== Sagara Seydou , Student No :201911080004, Major ;Translation Studies <br /> Translation Strategies <br /> Abstract <br /> Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.<br /> <br /> Key words: translation strategies and translational problems.<br /> <br /> This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;<br /> Introduction<br /> The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers define them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical significance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)<br /> <br /> Content<br /> Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classifications from different perspectives. For example, Lörscher’s (1991) classification is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classifications. It seems that clear-cut definitions of these terms might not work as well as prototype definitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)<br /> The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reflect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reflects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)<br /> The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp fiction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp; Munday,2004, p. 230)<br /> Having discussed the two prototype strategies, let us turn to the definitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few defining characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difficulty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).<br /> Problems, according to their scale, can be divided into global (or general) problems and local (or specific) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “specific activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle specific problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by specific techniques, which affect the translation result and the micro-units of the text, and are classified by comparison with the source text (Molina &amp; Hurtado Albir, 2002, p. 509).<br /> As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural filtering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.<br /> However, this is not consonant with the dictionary definitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is defined as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) defines translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will influence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identified the following text processing strategies: (a) problem identification, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal significant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can find out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280). Darwish (2008) identifies four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70).<br /> However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might influence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difficulty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.<br /> <br /> Conclusion<br /> In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.<br /> References<br /> Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp; J. Laffling(Eds.), Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_1&diff=112963 2020-12-16T06:51:18Z

<p>Sagara Seydou 3: /* Literature, Science Fiction and Fantasy - Dashkin, Gennadii - Student No.201911080001 */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Astrology - Alsied, Saffana==<br /> &quot;Chinese Astrology&quot;--[[User:SAFFANA ALSIED ,Student No:......... Major...........<br /> <br /> ===The History===<br /> <br /> So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the source is coming from ?<br /> <br /> ===The Five Elements And YIN/YANG===<br /> <br /> Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation please?<br /> <br /> A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?<br /> <br /> ===THE FORCES OF YIN / YANG===<br /> <br /> Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.<br /> <br /> A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?<br /> <br /> Chinese astrology was invented to achieve the two following goals;<br /> <br /> 1.) To predict the future,<br /> <br /> 2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise. <br /> <br /> According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?<br /> <br /> Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?<br /> <br /> The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?<br /> <br /> You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Chinese Astrology 中国占星学<br /> <br /> 2. Chinese Zodiac 中国十二生肖<br /> <br /> 3. Agricultural calendar 农业日历<br /> <br /> 4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）<br /> <br /> 5. The Oriental philosophy 东方哲学<br /> <br /> ===Questions===<br /> <br /> 1-Why was Chinese astrology invented?<br /> <br /> 2-How Chinese astrology relates to a person’s divine destiny?<br /> <br /> 3-What important role does the Chinese zodiac play in Chinese culture?<br /> <br /> 4- What is Chinese astrology based on?<br /> <br /> 5-Is Chinese astrology accurate?<br /> <br /> ===Answers===<br /> 1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.<br /> <br /> 2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.<br /> <br /> 3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.<br /> <br /> 4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.<br /> <br /> 5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> ===References===<br /> <br /> Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9<br /> <br /> 何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591<br /> <br /> Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.<br /> <br /> Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.<br /> <br /> &quot;&quot;Almanac&quot; &quot;lunar&quot; zodiac beginning of spring as the boundary dislocation? — China Network&quot;. 16 February 2009. Retrieved 5 January 2011.<br /> <br /> Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.<br /> <br /> &quot;Five Elements(Wu Xing)&quot;. YourChineseAstrology.com<br /> <br /> ==Spring Festival Couplets - Cao Runxin 曹 . Student No: ...........Major.............Please ?<br /> [[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]<br /> <br /> ===Spring Festival Couplets===<br /> Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).<br /> <br /> Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).<br /> <br /> The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).<br /> <br /> There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).<br /> <br /> ===References===<br /> <br /> *Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.<br /> *Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.<br /> *Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.<br /> *Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.<br /> <br /> <br /> ===Terms and Expressions ===<br /> Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 <br /> <br /> Paste 贴<br /> <br /> Horizontal scroll 横联<br /> <br /> Upper scroll 上联<br /> <br /> Lower scroll 下联<br /> <br /> ===Questions ===<br /> 1.What’s the purpose of pasting Spring Festival Couplets?<br /> <br /> To expresses people’s delight in the festival and wishes for a better life in the coming year.<br /> <br /> 2.What’s the historical origin of Spring Festival Couplets?<br /> <br /> It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.<br /> <br /> 3.How to read the Spring Festival Couplets?<br /> <br /> First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. <br /> <br /> 4.How to do with the Old Couplets?<br /> <br /> Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.<br /> <br /> ==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - Translation 英语笔译==<br /> <br /> [[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]<br /> <br /> ===Guzheng===<br /> <br /> ''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.<br /> <br /> There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).<br /> <br /> The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)<br /> <br /> [[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=古筝&amp;step_word=&amp;hs=0&amp;pn=27&amp;spn=0&amp;di=9900&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3246661627%2C3658564396&amp;os=3335747328%2C3552694810&amp;simid=0%2C0&amp;adpicid=0&amp;lpn=0&amp;ln=1718&amp;fr=&amp;fmq=1607348039297_R&amp;fm=result&amp;ic=&amp;s=undefined&amp;hd=&amp;latest=&amp;copyright=&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;gsm=1c&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]for original source.]]<br /> <br /> The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)<br /> <br /> Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several other schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)<br /> <br /> In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang played the ''guzheng'' to merge the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)<br /> <br /> From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.<br /> <br /> ===References===<br /> <br /> *Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.<br /> *Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.<br /> *Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. <br /> *Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.<br /> *Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.<br /> *Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.<br /> *Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.<br /> <br /> ===Terms and Expressions===<br /> <br /> *Meng Tian 蒙恬 <br /> *Zhao Lin 赵璘<br /> *''Records on Words'' 《因话录》<br /> *anterior mountain 前岳山 <br /> *posterior mountain 后岳山<br /> *''Yan Zhu'' 雁柱 <br /> *string pegs 弦钉<br /> *turning box 调音盒 <br /> *zither feet 琴足<br /> *paulownia 桐木 <br /> *mahogany 红木<br /> *''Dai Mao'' 玳瑁<br /> *''Yi Jia'' 义甲<br /> *''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹<br /> *''High Mountains and Running Water'' 《高山流水》<br /> *''The Autumn Moon in the Han Palace'' 《汉宫秋月》<br /> *''Jackdaw Playing in the Water'' 《寒鸦戏水》<br /> *''The Tune of Liu Qing Niang'' 《柳青娘》<br /> *Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香<br /> *Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望<br /> *''National Music Ceremony'' 《国乐大典》<br /> <br /> ===Questions===<br /> <br /> 1. What kind of musical instrument does the ''guzheng'' belong to?<br /> <br /> 2. Why the ''guzheng'' is deeply loved by Chinese? <br /> <br /> 3. Who is Meng Tian? <br /> <br /> 4. According to the legend, how did the ''se'' develop into the ''zheng''?<br /> <br /> 5. How many strings does the ''guzheng'' have? How long is the guzheng?<br /> <br /> 6. What is the function of movable bridges?<br /> <br /> 7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? <br /> <br /> 8. In ancient times, what materials were the fingerpicks made of?<br /> <br /> 9. Generally speaking, how does the players strike notes? <br /> <br /> 10. What styles can ''guzheng'' be divided into?<br /> <br /> 11. Which school does ''The Autumn Moon in the Han Palace'' belong to? <br /> <br /> 12. Do you know any other ''guzheng'' music? Please list some pieces.<br /> <br /> ===Answers===<br /> <br /> 1. It belongs to plucked stringed instruments.<br /> <br /> 2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. <br /> <br /> 3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.<br /> <br /> 4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. <br /> <br /> 5. It usually has 21 strings and is 163 centimeters long. <br /> <br /> 6. They are moved to change the timbres.<br /> <br /> 7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.<br /> <br /> 8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.<br /> <br /> 9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. <br /> <br /> 10. The Northern school and the Southern school.<br /> <br /> 11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.<br /> <br /> 12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).<br /> <br /> ==Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581. Major:.........<br /> ===Facial makeup===<br /> <br /> Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)<br /> <br /> People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)<br /> <br /> The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)<br /> <br /> Red<br /> <br /> Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.<br /> <br /> Black<br /> <br /> Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.<br /> <br /> White<br /> <br /> White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.<br /> <br /> Blue<br /> <br /> Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.<br /> <br /> Purple<br /> <br /> Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.<br /> <br /> Golden<br /> <br /> Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).<br /> <br /> The features of facial makeup are mainly as follows:<br /> First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.<br /> It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.(Cao Juan, 2019, 61)<br /> <br /> ===B. Terms and Expressions===<br /> <br /> painted face 花脸<br /> <br /> clown 丑角<br /> <br /> Sheng 生<br /> <br /> Dan 旦<br /> <br /> Jing 净<br /> <br /> Chou 丑<br /> <br /> Qingyi 青衣<br /> <br /> xiaosheng 小生<br /> <br /> laosheng 老生<br /> <br /> wusheng 武生<br /> <br /> Gao Changgong 高长恭<br /> <br /> legend，romance 传奇剧<br /> <br /> Erlang Shen, Erlang 二郎神<br /> <br /> Tathagata, Buddha 如来佛<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Water Margin of the Marsh 水浒传<br /> <br /> ===C. Questions===<br /> <br /> 1.How many types are character roles divided into in Beijing opera?<br /> <br /> 2.What are the differences bbetween Sheng and Dan?<br /> <br /> 3.What are the special features of Chou?<br /> <br /> 4.What is the function of facial mask in Beijing opera?<br /> <br /> 5.What are the main features of facial makeup?<br /> <br /> 6.What are the characteristics of characters wearing blue facial makeup?<br /> ===Answers===<br /> 1.Four types:Sheng, Dan, Jing and Chou.<br /> <br /> 2.Sheng refers to male roles while Dan refers to female roles.<br /> <br /> 3.A patch of white powder is wiped on their nose.<br /> <br /> 4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. <br /> <br /> 5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.<br /> <br /> 6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly<br /> <br /> ===References===<br /> <br /> He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.<br /> <br /> Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.<br /> <br /> Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.<br /> <br /> ==Literature, Science Fiction and Fantasy - Dashkin, Gennadii - Student No.201911080001== Major............please?<br /> === Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===<br /> <br /> <br /> Nowadays, modern literature is one of most interesting and gorgeous side of the worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that modern generation in the whole world prefer to read something about the future. Something, that can help to understand of what will be next. And that is why, one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broads our mind horizons.<br /> <br /> ====1.Liu Cixin（刘慈欣）====<br /> <br /> <br /> Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976).(Alexandra Alter,How Chinese Sci-Fi Conquered America 2019, 1)<br /> <br /> Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. <br /> <br /> Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written and naive and decided that he did not deserve publication.However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &quot;Supernova Era&quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence.(Liu Cixin, Supernova Era 2019,352)<br /> <br /> Liu's first books were warmly received in China, but nevertheless real success came to the author only in 2006, when he published the first part of his trilogy &quot;Memory of the Earth's Past&quot; - the novel &quot;The Problem of Three Bodies&quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &quot;The Three-Body Problem,&quot; although this is not formally true.<br /> <br /> In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.<br /> <br /> Liu Cixin is definitely a unique writer, with his own style, philosophy and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics, but also to science fiction literature.<br /> <br /> ====2.Chen Qiufan (陈楸帆） ====<br /> <br /> <br /> Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.<br /> <br /> Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.<br /> <br /> His debut book was ''The Empty Wave'', &quot;combining realism and allegory to represent the hybridity of humans and machines.&quot; Chen Qiufan's novels and stories won three Galaxy Awards, and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish and Russian.<br /> <br /> His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of the humanity progress.<br /> <br /> ====3.Rebecca F. Kuang (匡蘦秀)====<br /> <br /> <br /> When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.<br /> <br /> Quang grew up in Dallas, Texas and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.<br /> <br /> Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.<br /> <br /> Her debut novel, The Opium War, is a war fantasy set inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological and philosophical realities of China of the chosen era.<br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Science fiction - 科幻<br /> <br /> 2. Fantasy - 奇幻<br /> <br /> 3. Horizon - 地平线<br /> <br /> 4. Broad - 拓宽<br /> <br /> 5. Hybrid - 杂种<br /> <br /> 6. The plot - 情节<br /> <br /> 7. Garbage - 垃圾堆<br /> <br /> 8. Heyday - 壮年<br /> <br /> 9. Supernova - 超新星<br /> <br /> ===Questions===<br /> <br /> 1. What was the first book written by Liu Cixin?<br /> <br /> 2. What is the most popular trilogy of books written by Liu Cixin?<br /> <br /> 3. Who is called as Chinese William Gibson?<br /> <br /> 4. What is Rebecca Quang's Opium War plot based on?<br /> <br /> ===Answers===<br /> <br /> 1. Supernova Era<br /> <br /> 2. Memory of the Earth's Past<br /> <br /> 3. Chen Qiufan (陈楸帆）<br /> <br /> 4. The plot is largely based on the history of China in the middle of the 20th century.<br /> <br /> ===References===<br /> <br /> 1. Alexandra Alter,How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html<br /> <br /> 2. Liu Cixin, Supernova Era, 2019. 352 pp.<br /> <br /> 3. Chen Qiufan, Waste Tide, 2019. 342 pp.<br /> <br /> 4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.<br /> <br /> ==Stilts - Chen Yongxiang 陈永相 英语笔译 202070080582==<br /> [[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;fm=26&amp;gp=0.jpg] for original source.]]<br /> <br /> ===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===<br /> <br /> &lt;center&gt;Chen Yongxiang 陈永相 英语笔译 202070080582&lt;/center&gt;<br /> <br /> ====Introduction====<br /> <br /> Stilt is one of the folk dances of the Han nationality in our country, which is called &quot;Stilt Yangko&quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.<br /> <br /> As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &quot;Tongle Gaojiaohui&quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.<br /> <br /> The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who hold the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.<br /> <br /> Miliangtun Village Stilts as a renowned fair, known as the features of risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.<br /> <br /> There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilts is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.<br /> <br /> ====Terms and Expressions====<br /> <br /> Miliangtun (village name) 米粮屯<br /> <br /> stilts 高跷<br /> <br /> intangible cultural heritage 非物质文化遗产<br /> <br /> folk dance 民间舞蹈<br /> <br /> Toutou 陀头<br /> <br /> Laozuozi 老坐子 <br /> <br /> young boy 小二哥<br /> <br /> young master 公子<br /> <br /> Mr.Plaster 药先生<br /> <br /> Choupo 丑婆<br /> <br /> fisherman渔翁<br /> <br /> Yupo 渔婆 <br /> <br /> wood-cutter 柴翁<br /> <br /> handsome and ugly drum-players 俊鼓和丑鼓<br /> <br /> handsome and ugly gong-players 俊锣和丑锣<br /> <br /> ====Questions====<br /> <br /> 1. Where does Miliangtun Village Stilts originate?<br /> <br /> 2. How many years of history does Miliangtun Village Stilts have?<br /> <br /> 3. How many roles in Miliangtun Village Stilts?<br /> <br /> 4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?<br /> <br /> 5. How long is the shortest and the longest stilts?<br /> <br /> ====Answers====<br /> <br /> 1. Wangzuo Town, Fengtai District, Beijing.<br /> <br /> 2. More than 250 years.<br /> <br /> 3. 13.<br /> <br /> 4. In 2006.<br /> <br /> 5. The shortest stilt is two feet long, and the longest reaches over five feet.<br /> <br /> ====References====<br /> <br /> Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.<br /> <br /> Sun Miao 孙淼. (2018). &quot;一跷多艺&quot;: 胜芳高跷会的舞体表征与比较研究. [&quot;Multi-skills with one stilt&quot;: A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.<br /> <br /> https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin<br /> <br /> https://baijiahao.baidu.com/s?id=1643344511003907548&amp;wfr=spider&amp;for=pc<br /> <br /> <br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)<br /> <br /> ==Chinese Lion Dancing - Ding Daifeng 丁代凤==<br /> <br /> ===Introduction===<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.<br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)<br /> <br /> <br /> In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)<br /> <br /> ===Northern lion dancing===<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)<br /> <br /> ===Southern lion dancing===<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)<br /> <br /> Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)<br /> <br /> In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)<br /> <br /> ===Terms and Expressions===<br /> <br /> Western Regions 西域<br /> <br /> mount 坐骑<br /> <br /> Manjusri Bodhisattva 文殊菩萨<br /> <br /> gong 锣<br /> <br /> northern lion dancing 南狮<br /> <br /> southern lion dancing 北狮<br /> <br /> colorful silk ball 绣球<br /> <br /> wooden stakes 木桩<br /> <br /> spiritual resemblance神似<br /> <br /> Liu Bei lion 刘备狮<br /> <br /> Guan Gong lion 关公狮<br /> <br /> Zhang Fei lion 张飞狮<br /> <br /> sworn brothers 结义兄弟<br /> <br /> horse stances 马步<br /> <br /> Cai Qing 采青<br /> <br /> lettuces 生菜<br /> <br /> ===Questions===<br /> <br /> 1. How long is the history of lion dance in China?<br /> <br /> 2. Why did people gradually accept lion as a sacred animal?<br /> <br /> 3. Why did people use lion dance to celebrate the New Year?<br /> <br /> 4. What is the main difference between southern lion dancing and northern lion dancing?<br /> <br /> 5. What is the center of southern lion dancing?<br /> <br /> 6. How many colors are there in the heads of southern lions? And what are they?<br /> <br /> 7. What is “Cai Qing”? And what do you know about “Cai Qing”?<br /> <br /> ===Answers===<br /> <br /> 1. It is with a history of about 2000 years.<br /> <br /> 2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.<br /> <br /> 3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.<br /> <br /> 4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.<br /> <br /> 5. It is in southern China’s Guangdong province.<br /> <br /> 6. The head of southern lion has three colors, namely black, red and yellow.<br /> <br /> 7. It means &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming.<br /> <br /> ===References===<br /> <br /> Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.<br /> <br /> Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.<br /> <br /> Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.<br /> <br /> Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.<br /> <br /> ==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==<br /> ===A. The Eight Tang-Song Prose Masters===<br /> [[File:Tang Song Ba Da Jia.jpg]]<br /> <br /> ===Brief Introduction of The Eight Tang-Song Prose Masters===<br /> <br /> The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &quot;Ancient Prose Movement&quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25） <br /> In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)<br /> <br /> '''1. Han Yu'''<br /> [[File:Han Yu.jpg]]<br /> <br /> Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)<br /> Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)<br /> <br /> '''2. Liu Zongyuan'''<br /> [[File:Liu Zongyuan.jpg]]<br /> <br /> Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &quot;Liu Hedong &quot;, &quot; Mr. Hedong &quot;, also known as&quot; Liu Liuzhou &quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor .<br /> He was juxtaposed with Han Yu as &quot;Han Liu &quot;, with Liu Yuxi as &quot; Liu Liu &quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &quot;Wang Meng Wei Liu &quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &quot;Liu He Dong Colloection&quot; was one of his representatives. (Zhou Zhenfu 2016, 26)<br /> He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)<br /> <br /> '''3. Ouyang Xiu'''<br /> [[File:Ouyang Xiu.jpg]]<br /> <br /> Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.<br /> Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.<br /> Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)<br /> <br /> '''4. Su Xun'''<br /> [[File:Su Xun.jpg]]<br /> <br /> Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.<br /> Su Xun was a man of political ambition. He said that the main purpose of his works was &quot;to speak for the world &quot;, to&quot; apply to the present &quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)<br /> <br /> '''5. Su Shi'''<br /> [[File:Su Shi.jpg]]<br /> <br /> Su Shi, with a fame as &quot; Dongpo Jushi &quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .<br /> Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &quot;Han Chao Su hai&quot; with Han Yu in the prose area, &quot;Ou Su&quot; with Ouyang Xiu, &quot;Su Huang&quot; with Huang Tingjian, and &quot;Su Xin&quot; with Xin Qiji in the Ci area, so he was called &quot;the first all-round talent in ancient China&quot;.(Zhou Zhenfu 2016, 28)<br /> Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &quot;creating for certain purposes&quot;, advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.<br /> <br /> '''6. Su Zhe'''<br /> [[File:Su Zhe.jpg]]<br /> <br /> Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch.<br /> Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &quot;literary style&quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &quot;Ode to Ink bamboo&quot;.(Zhou Zhenfu 2016, 29)<br /> <br /> '''7. Wang Anshi'''<br /> [[File:Wang Anshi.jpg]]<br /> <br /> Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .<br /> Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)<br /> <br /> '''8. Zeng Gong'''<br /> [[File:Zeng Gong.jpg]]<br /> <br /> Zeng Gong was known as &quot;Mr. Nan Feng&quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &quot;eight masters&quot; of the Tang and Song Dynasties, he was also one of the &quot;Seven Zengs of Nanfeng&quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.<br /> <br /> '''9. Comparison between the Ancient Prose Movement and Renaissance'''<br /> Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)<br /> <br /> Comparison in ideology:<br /> The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.<br /> <br /> Comparison in writing style:<br /> The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)<br /> <br /> Comparison in literary form:<br /> The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&quot; Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)<br /> <br /> ===B. Terms and Expressions===<br /> The Eight Tang-Song Prose Masters 唐宋八大家<br /> <br /> Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》<br /> <br /> Ancient Prose Movement 古文运动<br /> <br /> parallel prose 骈文<br /> <br /> The Decline of Eight Generations 文起八代之衰<br /> <br /> The Article Giant 文章巨公<br /> <br /> Admired Literate of One Hundred Generations 百代文宗<br /> <br /> Han Changli Collection 《韩昌黎集》<br /> <br /> External collection 《外集》<br /> <br /> The Teacher's Theory《师说》<br /> <br /> Pre-Qin and Han Dynasties 先秦两汉时期<br /> <br /> writing in classical Chinese 文言文<br /> <br /> feudal provincial of Liuzhou 柳州刺史<br /> <br /> official supervisor of imperial censor 监察御史<br /> <br /> Liu He Dong Colloection 《柳河东集》<br /> <br /> Northern Song Dynasty 北宋<br /> <br /> a thousand volumes of collections of inscriptions 金石遗文一千卷<br /> <br /> Xia, Shang, Zhou Dynasties 三代<br /> <br /> the crown of that time 一时之冠<br /> <br /> Southern Tang Dynasty 南唐<br /> <br /> Yu Feng 余风<br /> <br /> The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》<br /> <br /> the Northern Song Dynasty poetry innovation movement北宋诗文革新运动<br /> <br /> Heng Lun 《衡论》<br /> <br /> Duke Jingguo 荆国公<br /> <br /> The Book to the Emperor 《上皇帝书》<br /> <br /> Dongpo Jushi 东坡居士<br /> <br /> Ci writer 词人<br /> <br /> Unconstrained Ci School豪放派<br /> <br /> literary and artistic attainments 文学艺术造诣<br /> <br /> the first all-round talent in ancient China 中国古代第一全才<br /> <br /> Su Men Four bachelors 苏门四学士<br /> <br /> the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》<br /> <br /> The New Theory《新论》<br /> <br /> On the Six Kingdoms 《六国论》<br /> <br /> Ode 赋<br /> <br /> The Ode to Ink bamboo 《墨竹赋》<br /> <br /> Seven Zengs of Nanfeng 南丰七曾<br /> <br /> the doctrine before the text先道后文<br /> <br /> the Book to Ouyang She Ren 《上欧阳舍人书》<br /> <br /> the Book to Bachelor Cai 《上蔡学士书》<br /> <br /> the Six Dynasties 六朝<br /> <br /> ===C. Questions===<br /> 1.Who are the pioneers of the Ancient Prose Movement?<br /> <br /> 2.Which kind of prose they advocate in the Ancient Prose Movement?<br /> <br /> 3.Do you know any representatives of Liu Zongyuan?<br /> <br /> 4.Why Ouyang Xiu is called &quot;Liu Yi Scholar&quot;?<br /> <br /> 5.What’s the relationship among Su Xun, Su Shi and Su Zhe?<br /> <br /> 6.Who are the &quot;Seven Zengs of Nanfeng&quot;?<br /> <br /> 7.Do you know any about the Renaissance?<br /> <br /> ===D. Answers===<br /> <br /> 1.Han Yu and Liu Zongyuan.<br /> <br /> 2.The prose of Pre-Qin and Han Dynasties.<br /> <br /> 3.The &quot;Liu He Dong Colloection&quot;.<br /> <br /> 4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.<br /> <br /> 5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.<br /> <br /> 6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> <br /> 7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.<br /> <br /> ===References===<br /> Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.<br /> <br /> Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.<br /> <br /> He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.<br /> <br /> Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.<br /> <br /> Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).<br /> <br /> Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.<br /> <br /> Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.<br /> <br /> ==Music, Instruments, Pipa - Gao Mingzhu 高明珠==<br /> [Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu<br /> <br /> '''1. A Brief Introduction'''<br /> <br /> Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&quot; and &quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)<br /> <br /> '''2.The Development of Pipa'''<br /> <br /> The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)<br /> <br /> During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one kind playing skill in playing pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16) <br /> <br /> There was only one kind playing skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from small to popular. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> '''3.Pipa Schools and Their Chracteristics'''<br /> <br /> The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)<br /> <br /> (1)The Wuxi school<br /> <br /> The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)<br /> <br /> (2)The Pinghu school<br /> <br /> The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as &quot; paired butterfly flying&quot; .(Deng Sijia 2020,10)<br /> <br /> (3)The Pudong School <br /> <br /> Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)<br /> <br /> (4)The Chongming school<br /> <br /> The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)<br /> <br /> (5)The Shanghai school<br /> <br /> This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)<br /> <br /> '''4.Traditional Pipa Music'''<br /> <br /> Traditional pipa music can be divided into military songs, literary songs and military-literary songs.<br /> <br /> Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are &quot;Ambush on All Sides&quot;, &quot;Bury Me High&quot;, &quot;Hai Qing Hunting the Swan&quot;, &quot;General Order in the Han Dynasty&quot;. [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)<br /> <br /> Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; and so on.<br /> <br /> Military-literary song is the combination of martial song and literary song. The representative songs are &quot;The Spring Snow&quot;, &quot;High Mountain and Flowing Water&quot;, &quot;Dragon Boat&quot;, &quot;Flute and Drum at Sunset&quot; and so on.<br /> <br /> '''5.Refferences''' [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> [1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020<br /> <br /> [2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.<br /> <br /> [3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.<br /> <br /> [4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.<br /> <br /> [Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> '''6.Terms and Expressions'''<br /> <br /> 弹拨乐器—plucked instruments<br /> <br /> 汉化—Chinesization<br /> <br /> 套曲—divertimentoes<br /> <br /> 游牧民族—nomad tribe<br /> <br /> 宫廷乐—court music<br /> <br /> 轮指法—tremolo<br /> <br /> 音色—timbre<br /> <br /> 曲目—repertoire<br /> <br /> 并弦—parallel string<br /> <br /> 指法—fingering techniques<br /> <br /> '''7.Questions'''<br /> <br /> 1、How many stages did pipa go through during its development?<br /> <br /> 2、What characteristics did pipa have during Wei and Jin dynasties?<br /> <br /> 3、What changes had been made to pipa during Ming and Qing dynasties?<br /> <br /> 4、How many schools does pipa have and what are they?<br /> <br /> 5、Can you list at least 3 representative repertoires of literary songs played by pipa? <br /> <br /> '''8.Answers'''<br /> <br /> 1、Four.<br /> <br /> 2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.<br /> <br /> 3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. <br /> <br /> 4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school. <br /> <br /> 5、&quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; .<br /> <br /> [Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> ===Terms and Expressions===<br /> ===xxx===<br /> <br /> ==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001== Major.................<br /> === Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === <br /> <br /> The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?<br /> <br /> '''1. Huli-jing (狐狸精) in China'''<br /> <br /> First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.<br /> <br /> People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.<br /> <br /> Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.<br /> <br /> The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.<br /> <br /> Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.<br /> A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &quot;Good Hunt&quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.<br /> <br /> In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &quot;Painted Skin (畫皮)&quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.<br /> <br /> In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.<br /> <br /> Quite a lot of information about werewolf foxes can be obtained from the TV series &quot;The Legend of the Nine-Tailed Fox&quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.<br /> <br /> Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.<br /> <br /> The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.<br /> <br /> '''2. Kitsune (キツネ) in Japan''' <br /> <br /> In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&quot;Fox-messenger&quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.<br /> <br /> Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.<br /> <br /> Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.<br /> <br /> A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. <br /> <br /> '''3. Kumiho (구미호) in Korea'''<br /> <br /> Kumiho - (구 &quot;ku&quot; - nine, 미 &quot;mi&quot; - tail, 호 &quot;ho&quot; - fox - &quot;fox with nine tails&quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.<br /> <br /> In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> Shape shifter – 成精<br /> <br /> Creature –生物<br /> <br /> Seductive –诱人的<br /> <br /> Damnation –诅咒<br /> <br /> Metaphor –隐喻<br /> <br /> Ascribe –属性<br /> <br /> Indigenous –土着<br /> <br /> Deity – 反面人物<br /> <br /> Liver – 肝脏<br /> <br /> ===References===<br /> <br /> 1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.<br /> <br /> 2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.<br /> <br /> 3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.<br /> <br /> ===Questions===<br /> <br /> 1. What was the attitude towards the Huli Jing in Ancient China?<br /> <br /> 2. Can we characterize Kitsune as a positive or negative character?<br /> <br /> 3. Could Kumiho become human forever?<br /> <br /> ===Answers===<br /> <br /> 1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.<br /> <br /> 2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.<br /> <br /> 3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.<br /> References ..................<br /> <br /> ==Chinese Characters - Gu Dongfang 顾东方==<br /> Chinese Characters<br /> <br /> ===Origin===<br /> <br /> Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）<br /> <br /> ===Evolution of Chinese characters===<br /> [[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]<br /> Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)<br /> <br /> ===Ancient Chinese characters===<br /> <br /> ====Oracle bone script====<br /> <br /> Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).<br /> <br /> ====Bronze script====<br /> <br /> In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.<br /> <br /> ====Seal script====<br /> Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. <br /> The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.<br /> <br /> ===Modern characters===<br /> ====Clerical script====<br /> <br /> After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.<br /> From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.<br /> <br /> ====Regular script====<br /> <br /> Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.<br /> <br /> ===Formation of Chinese characters===<br /> <br /> ====Pictograms====<br /> <br /> Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &quot;sun,&quot; 月 (yuè) for &quot;moon,&quot; and 木 (mù) for &quot;tree.&quot;<br /> <br /> ====Pictophonetic compounds====<br /> <br /> Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.<br /> <br /> ====Ideograph ====<br /> <br /> Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &quot;knife,&quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &quot;blade.&quot; Other common examples are 上 (shàng) for &quot;up&quot; and 下 (xià) for &quot;down.&quot; This category is small, as most concepts can be represented by characters in other categories.<br /> <br /> ====Logical aggregates====<br /> <br /> Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light.<br /> <br /> ====Associate transformation====<br /> <br /> Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &quot;elderly person,&quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.<br /> <br /> ====Borrowing ====<br /> <br /> Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)<br /> <br /> ===Simplification of Chinese characters===<br /> <br /> The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)<br /> <br /> ===Terms and expressions===<br /> <br /> 1.Oracle Bone Inscriptions  甲骨文<br /> <br /> 2.Bronze Inscriptions 金文<br /> <br /> 3.Small seal characters 小篆<br /> <br /> 4.Official script 隶书<br /> <br /> 5.Regular script 楷书<br /> <br /> 6.Cursive writing 草书<br /> <br /> 7.Cang Jie 仓颉<br /> <br /> <br /> 8.Clerical script 楷书<br /> <br /> 9.Su Shi 苏轼<br /> <br /> 10. Wang Xizhi 王羲之<br /> <br /> 11.Ou Yangxun 欧阳询<br /> <br /> 12.Yan Zhenqing 颜真卿<br /> <br /> 13.Pictograms 象形<br /> <br /> 14. Pictophonetic compounds 指事<br /> <br /> 15.Ideograph 会意<br /> <br /> 16.Logical aggregates 形声<br /> <br /> 17.Associate transformation 转注<br /> <br /> 18.Borrowing 假借<br /> <br /> ===Question===<br /> 1.How many Chinese characters are there?<br /> <br /> 2.How many letters are in the Chinese alphabet?<br /> <br /> 3. How many formations of Chinese characters? What are they?<br /> <br /> ===Answers===<br /> 1. According to the latest statics, there are nearly 91251 Chinese characters recorded .<br /> <br /> 2. There are 26 letters in Chinese alphabet.<br /> <br /> 3. Six formations are included in Chinese characters system, and they are Pictograms<br /> Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing<br /> <br /> ===References===<br /> <br /> 1.王显春. 汉字的起源[M]. 学林出版社, 2002.<br /> <br /> 2.刘又辛. &quot;关于汉字发展史的几个问题(上).&quot; 语文建设 12(1998):34-37.<br /> <br /> 3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188<br /> <br /> 4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.<br /> <br /> ==Chinese Knots - Guan Qinqing 管钦清==<br /> <br /> ===A.Chinese Knots===<br /> <br /> ====1.A Brief Introduction about Chinese Knots====<br /> <br /> The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It <br /> <br /> originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.<br /> <br /> The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.<br /> <br /> The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and <br /> <br /> personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which <br /> <br /> earned the knot its name.<br /> <br /> ====2.The Classification of Chinese Knots====<br /> <br /> There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥<br /> <br /> 结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井<br /> <br /> 结）,Cross Knot(十字结） and Ping Knot（平结）.<br /> <br /> Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. <br /> <br /> =====2.1.The Double Coin Knot=====<br /> <br /> Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views <br /> <br /> on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only <br /> <br /> represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &quot;luck money&quot;. Therefore, for <br /> <br /> the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes <br /> <br /> &quot;good things come in pairs&quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful <br /> <br /> patterns, such as clouds and Perfect Knots，etc.<br /> <br /> =====2.2.The Good Luck Knot=====<br /> <br /> As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.<br /> <br /> And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.<br /> <br /> =====2.3.The Pan Chang Knot=====<br /> <br /> Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the <br /> <br /> avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is <br /> <br /> often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.<br /> <br /> ====3.The Knitting Method of Chinese Knots====<br /> <br /> The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.<br /> <br /> The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.<br /> <br /> ====4.The Cultural Connotations of Chinese Knots====<br /> <br /> Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of <br /> <br /> rope and thread.In Chinese， &quot;rope&quot; (绳）and &quot;god&quot; （神）are homophonic, so the Chinese nation has a worship of &quot;rope&quot;. In addition, Chinese people are descendants of <br /> <br /> dragons.Because the shape of &quot;rope&quot; is like a winding dragon, people also regard &quot;rope&quot; as a symbol of dragon. Chinese people also have their own unique understanding of <br /> <br /> &quot;knot&quot;, which means reunion and happiness. Many of the Chinese words composed of &quot;结&quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交<br /> <br /> （making friends), and 永结同心（tie the knot),etc. &quot;结&quot;(knot) is also homonymous with &quot;吉&quot;（ausipiciousness), so people even think that &quot;knot&quot; is a symbol of good luck.<br /> <br /> ====5.Comparisons between Chinese Knots and Cross Necklaces====<br /> <br /> =====5.1.Different Cultural Connotations=====<br /> <br /> From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of <br /> <br /> Christianity. The cross, derived from the Latin &quot;crux&quot;, means &quot;fork&quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient <br /> <br /> Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross <br /> <br /> ornaments in the west as cross necknaces are usually used to represent love and salvation.<br /> <br /> =====5.2.Different Shapes=====<br /> <br /> Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have <br /> <br /> different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.<br /> <br /> ====6.References====<br /> <br /> 李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.<br /> <br /> 李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.<br /> <br /> 许星.路论中国结[J].丝绸,2004(02) : 46-47.<br /> <br /> 邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.<br /> <br /> 王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.<br /> <br /> ===B. Terms and Expressions===<br /> <br /> Double Coin Knot 双钱结<br /> <br /> Good Luck Knot 吉祥结<br /> <br /> Chinese Button Knot 纽扣结<br /> <br /> Sauvastika Knot 万字结<br /> <br /> Oxalis Knot 酢浆草结<br /> <br /> Pan Chang Knot 盘长结<br /> <br /> Round Brocade Knot 团锦结<br /> <br /> Caisson Celling Knot 藻井结<br /> <br /> Cross Knot 十字结<br /> <br /> Ping Knot 平结<br /> <br /> tie the knot 永结同心<br /> <br /> luck money 压岁钱<br /> <br /> the bishop's identity 主教职权<br /> <br /> ===C. Questions===<br /> <br /> 1. What is the Chinese knot?<br /> <br /> 2. Do you know the names of the main Chinese knots? What are they?<br /> <br /> 3. What do &quot;绳&quot; and &quot;结&quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> ==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==<br /> <br /> [[File:Chinese Mythology.jpg|thumb|right|Panku]]<br /> <br /> ===Introduction===<br /> <br /> The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.<br /> <br /> ===A. Panku Created the World===<br /> <br /> In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).<br /> <br /> At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 &quot;li&quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).<br /> Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.<br /> <br /> ===B. NuWa Created Human Beings===<br /> <br /> [[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]<br /> <br /> Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).<br /> <br /> As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.<br /> <br /> During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.<br /> <br /> ===C. Fushi Taught the People=== <br /> <br /> In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .<br /> <br /> Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &quot;trigrams&quot;, in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This &quot;trigrams&quot; was also a mean to interpret future and consult oracle about the right ways to follow.<br /> <br /> Finally, Fushi gave his last gift (music) in order people can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &quot;pipa&quot; (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history. Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. <br /> <br /> ===D. Water War===<br /> <br /> Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as a very big giants with different shapes, Gong shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).<br /> <br /> Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).<br /> <br /> In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.<br /> <br /> ===E. Terms and Expressions===<br /> <br /> Chinese Mythology 中国神话<br /> <br /> Panku 盤古<br /> <br /> Yin/Yang 陰陽 / 阴阳<br /> <br /> Nuwa 女媧<br /> <br /> Fushi 伏羲<br /> <br /> Water War 水战<br /> <br /> ===F. Questions===<br /> <br /> 1. Why an egg a good symbol for the beginning of the world?<br /> <br /> 2. Why Nuwa decided to create human beings?<br /> <br /> 3. What did Fushi taught to people?<br /> <br /> 4. What was the cause of Gong and Zurong’s war and who won?<br /> <br /> ===G. Answers===<br /> <br /> 1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.<br /> <br /> 2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.<br /> <br /> 3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.<br /> <br /> 4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.<br /> <br /> ===References===<br /> <br /> 1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.<br /> <br /> 2. Irene Dea Collier. (2001). &quot;Chinese Mythology&quot;. Library of Congress Cataloging-in-Publication Data.<br /> <br /> 3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg<br /> <br /> 4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)<br /> <br /> ==Gods and Immortals - Gui Yizhi 桂一枝==<br /> <br /> ===Chinese gods and immortals===<br /> <br /> ====Chinese mythology system====<br /> <br /> Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.<br /> <br /> Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.<br /> <br /> The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).<br /> <br /> Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &quot;Way&quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.<br /> <br /> At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &quot;most widely beloved Buddhist Divinity&quot; with miraculous powers to assist all those who pray to her.<br /> <br /> ====神 shén, 帝 dì and 仙 xiān====<br /> <br /> Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. dì, sometimes translated as &quot;thearch&quot;, implies a manifested or incarnate &quot;godly&quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.<br /> <br /> ====Eight immortals====<br /> <br /> The Eight Immortals are a group of legendary xian (&quot;immortals&quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &quot;Covert Eight Immortals&quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.<br /> <br /> The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism. <br /> <br /> The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &quot;The Eight Immortals cross the sea, each reveals its divine powers&quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.<br /> <br /> ===Terms and Expressions===<br /> <br /> immortals 仙 <br /> <br /> mythology 神话，神话学<br /> <br /> cosmology 宇宙论，宇宙观 <br /> <br /> monolithic 整体（式）的<br /> <br /> the Battle of Zhuolu 涿鹿之战<br /> <br /> pantheistic 泛神论的 <br /> <br /> polytheistic 多神论的<br /> <br /> Three Pure Ones 三清<br /> <br /> anthropomorphic 人格化的<br /> <br /> tutelary 守护神 <br /> <br /> deity 神<br /> <br /> Buddha 佛 <br /> <br /> Shakyamuni 释迦牟尼<br /> <br /> Amitabha 阿弥陀佛 <br /> <br /> Amitāyus 无量寿佛<br /> <br /> celestial 天的 <br /> <br /> Bodhisattva 菩萨 <br /> <br /> Pure Land 极乐世界 <br /> <br /> vessels 法器<br /> <br /> Covert Eight Immortals 暗八仙 <br /> <br /> Taoist 道家的，道士<br /> <br /> ===Questions===<br /> <br /> 1. What are the topics of the Ancient mythology?<br /> <br /> 2. What are the differences among shén, dì and xiān?<br /> <br /> 3. What do the Eight immortals represent respectively?<br /> <br /> ===Answers===<br /> 1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.<br /> <br /> 2. shén and dì corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> 3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.<br /> <br /> ===References===<br /> <br /> [1]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.pp11-12<br /> <br /> [2]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.pp.63-67 <br /> <br /> [3]柏杨．中国人史纲：时代文艺出版社，1987.pp. 34-40<br /> <br /> [4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear &amp; Company.pp.27-28 <br /> <br /> [5]Buddhism, the Fulfilment of Hinduism P37<br /> <br /> [6]胡亚楠. 从神到仙：先秦时期神仙信仰的形成因素研究[D].哈尔滨师范大学,2020.<br /> <br /> [7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.pp. 200-201<br /> <br /> [8]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [9]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [10]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago. pp. 313, 319–334.<br /> <br /> ==Literature, Tang and Song - Guo Lu 郭露 202070080588==<br /> <br /> ===Classical Prose Movement of late Tang Dynasty and Song Dynasty===<br /> <br /> ====Introduction====<br /> <br /> “The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its deep.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)<br /> <br /> ====Development====<br /> <br /> The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)<br /> <br /> However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)<br /> <br /> After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) <br /> <br /> ====Representatives====<br /> <br /> '''1.Han Yu'''<br /> <br /> Han Yu (768 – 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &quot;Eight Great Prose Masters of the Tang and Song&quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)<br /> <br /> Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)<br /> <br /> '''2.Liu Zongyuan'''<br /> <br /> Liu Zongyuan (773 – 819), courtesy name Zihou, also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese literature, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &quot;Jiangxue&quot;. (Yang Shengli 2020, 42-44)<br /> <br /> '''3.Ouyang Xiu'''<br /> <br /> Ouyang Xiu (1007 – 1072), courtesy name Yong Shu, also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)<br /> <br /> Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)<br /> <br /> Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)<br /> <br /> ====Masterworks====<br /> <br /> Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)<br /> <br /> ====Influence====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)<br /> <br /> ====Terms and Expressions====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家<br /> <br /> Classical Prose Movement 古文运动<br /> <br /> ''Eight Records of Excursions in Yongzhou'' 《永州八记》<br /> <br /> ''On Teachers'' 《师说》<br /> <br /> ''New Book of Tang'' 《新唐书》<br /> <br /> ''Historical Records of the Five Dynasties'' 《新五代史》<br /> <br /> ''Zuiweng Tingji'' 《醉翁亭记》<br /> <br /> ''Shang Zhongyong'' 《伤仲永》<br /> <br /> ''On Jia Yi'' 《贾谊论》<br /> <br /> ''First Ode to the Red Cliff'' 《赤壁赋》<br /> <br /> ====Questions====<br /> <br /> 1. Who were the first promoters of the Classical Prose Movement?<br /> <br /> 2. What does the Classical Prose Movement mean?<br /> <br /> 3. What's political and religious purposes of the Classical Prose Movement?<br /> <br /> ====Answers====<br /> <br /> 1. The first promoters of this movement were Han Yu and Liu Zongyuan.<br /> <br /> 2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.<br /> <br /> 3. The reason what Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.<br /> <br /> ====References====<br /> <br /> Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.<br /> <br /> Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.<br /> <br /> Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.<br /> <br /> Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.<br /> <br /> Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.<br /> <br /> Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.<br /> <br /> Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.<br /> <br /> ==The tradition of Red envelope and Lucky money - Ha, Thi Thu Hang - 201921080008==<br /> <br /> ===The Chinese Red Envelope and Lucky money tradition===<br /> <br /> In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.<br /> <br /> ====The Legend====<br /> <br /> In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> <br /> One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> There are also other legends about this custom related to the son Duong Quy Phi of the Tang dynasty - China and the Qin dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.<br /> <br /> ====The tradition====<br /> <br /> The Chinese custom of lucky money is called &quot;Hongbao&quot;. Chinese people really like red, so the lucky money is always red, symbolizing luck and happiness. The red envelope is called yasui qian (压岁钱 /Yāsuìqián/), which means &quot;suppressing ghosts money&quot;. Those who receive a red envelope are wished another safe and pea Sending red envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese lucky money must avoid the number 4 and be sealed. The children, after receiving the lucky money, do not open it immediately, but have to put it all under the pillow after about a week to open it, it is impolite to open a red envelope in front of the person who gives it to you. The meaning of this is for the lucky money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese lucky money.<br /> <br /> Red envelopes, also called red packets, lucky money, or &quot;hongbao&quot; in Chinese, &quot;li shi&quot; / &quot;li xi&quot; in Vietnamese are a popular monetary gift given on some important occasions or festivals in China, Vietnam, Korea, Japan, some other Asian countries, especially widely seen during the Chinese New Year (Spring Festival). During Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into.<br /> <br /> ====Outside of China====<br /> <br /> The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent.<br /> <br /> Each country has different ways of lucky money and changes over time, but the basic custom of lucky money is to want to send wishes of peace to all relatives and friends in the new year.<br /> In Vietnam, the Lunar New Year is one of the great holidays of the year. The traditional New Year's customs are still preserved, in which the lucky money is typical. On the first day of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give lucky money to the children with the message of good luck, good care and good study. Today, the tradition of lucky money in Vietnam is also expanded in the direction that children give lucky money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.<br /> <br /> In Japan, lucky money is called Otoshidama. Unlike other countries, the amount of Japanese lucky money depends on the child's age, the relationship of the family. Otoshidama red envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese red envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the lucky money will be written on the red envelope to show respect for the recipient. The message of each Otoshidama red envelopes is a wish for a warm, peaceful and lucky new year.<br /> <br /> In Korea, the lucky money is called Sabae. On New Year's Day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive lucky money together with wishes for health and peace in the new year. The lucky money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems...<br /> <br /> ===Terms and Expressions===<br /> Luckymoney 利市 /Lì shì/ <br /> <br /> Red envelope 紅包 /Hóngbāo/ <br /> <br /> Confucianism 儒教 /Rújiào/ <br /> <br /> Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/<br /> <br /> ===Questions===<br /> <br /> 1. Do you know the origin of giving Lunar new year lucky money to children？<br /> <br /> ===Answers===<br /> <br /> 1. In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> ===References===<br /> https://en.wikipedia.org/wiki/Red_envelope [https://en.wikipedia.org/wiki/Red_envelope]<br /> <br /> ==Calendar, The 24 Solar Terms - He Changqi 何长琦==<br /> ==='''The Twenty-four Solar Terms'''===<br /> <br /> ===1. The orgin and development of the twenty-four solar terms===<br /> <br /> “The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）<br /> <br /> ===2. The definition and classification of the twenty-four solar terms===<br /> <br /> “The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. <br /> A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate. The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.<br /> (Yuan Jixi 2016:)<br /> <br /> ===3.Folklore of the 24 solar terms===<br /> <br /> The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the &quot;whipping of the spring bull&quot; at the beginning of spring and the &quot;tailing festival&quot; at the end of the cold season. Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &quot;the unity of heaven and man, in accordance with the four seasons&quot;, the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. <br /> <br /> These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &quot;biting the spring&quot; on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)<br /> <br /> ===4.Importance and values===<br /> <br /> ===4.1 Importance in ancient times===<br /> <br /> The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. The 24 solar terms have played an important role in the life and work of traditional Chinese people.<br /> Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that &quot;if the agricultural time is not violated, there will be sufficient grain supply.&quot; (Mencius - Liang Huiwang). Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives. For example, the &quot;Four Beginnings&quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)<br /> <br /> ===4.2 Values in modern society===<br /> <br /> In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation. It still has its practical values in modern society.<br /> Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture. Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature. Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)<br /> <br /> ===Terms and Expressions===<br /> <br /> the Beginning of Spring 立春<br /> <br /> Beginning of Autumn 立秋<br /> <br /> Rain Water 雨水 <br /> <br /> End of Heat 处暑<br /> <br /> Insects Awakening 惊蛰 <br /> <br /> White Dew 白露<br /> <br /> Spring Equinox 春分 <br /> <br /> Autumnal Equinox 秋分<br /> <br /> Fresh Green 清明 <br /> <br /> Cold Dew 寒露<br /> <br /> Grain Rain 谷雨 <br /> <br /> First Frost 霜降 <br /> <br /> Beginning of Summer 立夏 <br /> <br /> Beginning of Winter 立冬<br /> <br /> Lesser Fullness 小满 <br /> <br /> Light Snow 小雪<br /> <br /> Grain in Ear 芒种 <br /> <br /> Heavy Snow 大雪<br /> <br /> Summer Solstice 夏至<br /> <br /> Winter Solstice 冬至<br /> <br /> Lesser Heat 大暑<br /> <br /> Lesser Cold 小寒<br /> <br /> Greater Heat 立春 <br /> <br /> Greater Cold 大寒<br /> <br /> ===Questions===<br /> 1.1.What are the first four solar terms measured by ancient Chinese people?<br /> <br /> 2.Where does the 24 solar terms originate from?<br /> <br /> 3. What are the eight solar terms that reflect seasonal changes？<br /> <br /> 4.When was included in the World Intangible Cultural Heritage List? <br /> <br /> 5.What are the food customs in the Beginning of Spring?<br /> <br /> 6.Do you konw any other folklore of the 24 solar terms?<br /> ===Answers===<br /> 1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.<br /> <br /> 2.It originated in the Yellow River valley.<br /> <br /> 3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice<br /> <br /> 4.In 2016.<br /> <br /> 5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.<br /> <br /> 6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the &quot;Sage of Medicine&quot;, invented the &quot;jiaozi&quot; to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as &quot;dumpling&quot; or jiaozi. Today there is still a saying that goes &quot;Eat dumplings on Start of Winter Day, or your ears will be frostbitten.&quot;<br /> <br /> ===References===<br /> Yuan Jix. 袁济喜. (2016). &quot;中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)<br /> <br /> Wang Jiahua. 王加华.（2019.9.20）&quot;China Social Science Network&quot; http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml<br /> <br /> Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）&quot;Chinanews&quot; http://www.chinanews.com/cul/2020/11-17/9340057.shtml <br /> <br /> He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html<br /> <br /> ==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==<br /> <br /> ===Collection of Yue Fu Poetry《乐府诗集》===<br /> <br /> ====Introduction====<br /> <br /> '''1.Brief introduction'''<br /> <br /> ''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. &quot;Yuefu&quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)<br /> <br /> '''2.About the author'''<br /> <br /> Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation.(Wu Ting 2007, 22)<br /> <br /> '''3.Content introduction'''<br /> <br /> It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &quot;Yuefu Poetry Collection&quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties.(Wu Ting 2007, 30)<br /> <br /> ====Masterpieces====<br /> <br /> '''1.''The Peacock Flies to Southeast'''''<br /> <br /> ''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit.As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed.(Wu Ting 2007, 36)<br /> <br /> '''2.''Mulan Poetry'''''<br /> <br /> ''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &quot;Mulan is a girl&quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)<br /> <br /> ====Evaluation====<br /> <br /> '''1.Contributions'''<br /> <br /> The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &quot;Moshangsang&quot;, &quot;dongmenxing&quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. Yuefu Poetry Collection introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)<br /> <br /> '''2.Shortcomings'''<br /> <br /> There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)<br /> <br /> ===References===<br /> Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)<br /> <br /> Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Collection of Yue Fu Poetry''《乐府诗集》<br /> <br /> Jiaomiao songs郊庙歌辞<br /> <br /> Yanshe songs燕射歌辞<br /> <br /> Guchui drum songs鼓吹曲辞<br /> <br /> Hengchui songs横吹曲辞<br /> <br /> Xianghe songs相和歌辞<br /> <br /> ''The Peacock Flies to Southeast'' 《孔雀东南飞》<br /> <br /> ''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)<br /> <br /> ===Questions===<br /> <br /> 1.When was Yuefu Poetry compiled？<br /> <br /> 2.Which institution did &quot;Yuefu&quot; belong to?<br /> <br /> 3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.In Song Dynasty.<br /> <br /> 2.It belongs to the institution in charge of music.<br /> <br /> 3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)<br /> <br /> ==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==<br /> <br /> ===Eight Major Cuisines of China===<br /> <br /> ====1. A Brief Introduction About Chinese Cuisine====<br /> As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &quot;four major cuisines.&quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &quot;eight major cuisines&quot; of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)<br /> <br /> ====2. The Classification of Chinese Cuisines====<br /> <br /> China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)<br /> <br /> =====2.1 Shandong Cuisine=====<br /> Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)<br /> =====2.2 Sichuan Cuisine=====<br /> Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one <br /> of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)<br /> =====2.3 Guangdong Cuisine=====<br /> Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)<br /> =====2.4 Fujian Cuisine=====<br /> Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &quot;pickled taste&quot;. (Shi Hongmei 2009, 55)<br /> =====2.5 Jiangsu Cuisine=====<br /> Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)<br /> =====2.6 Zhejiang Cuisine=====<br /> Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)<br /> =====2.7 Hunan Cuisine=====<br /> Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)<br /> =====2.8 Anhui Cuisine=====<br /> Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)<br /> <br /> ====3. A Comparison of Chinese-Western Diet Culture====<br /> <br /> Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)<br /> <br /> Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods.(Caihua 2009, 57)<br /> <br /> ====References====<br /> <br /> Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.<br /> <br /> Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.<br /> <br /> Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.<br /> <br /> Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．<br /> <br /> Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.<br /> <br /> ===Terms and Expressions===<br /> <br /> pot-stewed fowl 卤味<br /> <br /> stewing and simmering 炖，煨<br /> <br /> prickly ash 花椒<br /> <br /> fermented soybean 豆鼓<br /> <br /> Braised Dongpo Pork 东坡肉<br /> <br /> Buddha Jumps over the Wall 佛跳墙<br /> <br /> Kung Pao Chicken 宫保鸡丁<br /> <br /> Bean Sauce Tofu 麻婆豆腐<br /> <br /> ===Questions===<br /> 1. How many types of cuisines are there in china?<br /> <br /> 2. What’s differences between Chinese and western diets?<br /> <br /> 3. What is the origin of Dongpo Meat?<br /> <br /> ===Answers===<br /> 1. Eight<br /> <br /> 2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. <br /> <br /> 3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.<br /> <br /> ==Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting==<br /> <br /> Chinese Paper Cutting 剪纸<br /> <br /> ===Text===<br /> ===Introduction===<br /> The art of paper cutting in China may date back to the second century CE, since paper was invented by Cai Lunin the Eastern Han Dynasty in China. As paper became more affordable, paper-cutting became one of the most important types of Chinese folk art. Later, this art form spread to other parts of the world, with different regions adopting their own cultural styles. Because the cut-outs are often used to decorate doors and windows, they are sometimes referred to as chuanghua, window flowers or window paper-cuts. People glued the papercuts to the exterior of windows, so the light from the inside would shine through the negative space of the cutout.[1] Usually, the artworks are made of red paper, as red is associated with festivities and happiness in Chinese culture, but other colours were also used. Normally paper-cutting artwork is used on festivals like Spring Festival weddings and childbirth. Paper-cuting always symbolizes luck and happiness.<br /> <br /> ===History===<br /> The paper was invented in the Western Han Dynasty (6th century BC), before which there was no paper-cut art. However, at that time, people used thin-film materials to make handicrafts by hollowing out carving techniques, which had been popular since before paper appeared, that is, carving, carving, carving and cutting techniques were used to carve patterns on gold foil, leather, silk and even on leaves. In the historical records, the brother of the cutting Tung Tong describes the Zhou Dynasty king of the Western Zhou Dynasty who cut his &quot;Guiyu&quot; to his brother by using Wutong leaves and Feng Ji Yu to Tang as Hou. During the Warring States period, leather engraving (one of the cultural relics unearthed from No.1 Chu tomb in jianglingwangshan, Hubei Province) and silver foil hollowed out and engraved patterns (one of the cultural relics unearthed from the Warring States site in Guwei village, Huixian County, Henan Province) were used in the Warring States period. Their appearance laid a certain foundation for the formation of folk paper-cut. In the southern and Northern Dynasties, &quot;Mulan Ci&quot; has the poem &quot;yellow to the mirror&quot;. The earliest paper-cut work in China was found in the Northern Dynasty period (386-581 A.D.) unearthed near the Flame Mountain in Turpan, Xinjiang. These paper-cut, the use of repeated folding and image processing techniques.<br /> <br /> In the Ming and Qing Dynasties, the paper-cut handicraft became mature and reached its peak. Folk paper-cut handicrafts are more widely used, such as flower decorations on folk lanterns, patterns on fans, and embroidery patterns, etc., all of which are decorated with paper-cut for reprocessing [9]. What's more, Chinese people often use paper-cut as decoration to beautify the home environment. For example, door stacks, window decorations, cabinet flowers, flower lovers and ceiling flowers are used to decorate doors, windows and rooms.<br /> <br /> At the beginning of the 20th century, the &quot;May 4th&quot; New Culture Movement established the rudiment of Chinese folklore under the advocacy of advanced intellectuals Cai Yuanpei, Lu Xun, Liu Bannong and Zhou Zuoren. They widely collect folk literature materials, but also strive to collect folk art works, including folk paper-cut. In the 1930s, artist Chen Zhinong began the research and creation of folk paper-cut in Beijing. He used sketches and silhouettes to depict a large number of customs and customs in old Beijing, such as street vendors, workshop craftsmen, food stalls and tea picking, markets, temple fairs, and market idlers.<br /> <br /> ===Five Regions===<br /> <br /> <br /> ===Techniques===<br /> ===References===<br /> <br /> ===Terms and Expressions===<br /> <br /> ===Questions===<br /> <br /> ===Answers===<br /> <br /> ==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==<br /> <br /> ===The Chinese Medical Sage - Zhang Zhongjing===<br /> <br /> Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)<br /> <br /> Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)<br /> <br /> This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)<br /> <br /> Later, people called the doctor who sat in the drugstore to treat patients &quot;the doctor sitting in the hall&quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)<br /> <br /> When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)<br /> <br /> There is a Chinese saying that goes, &quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)<br /> <br /> When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)<br /> <br /> Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &quot; Cold Dispelling Jiaoer Soup&quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)<br /> <br /> Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &quot;Cold Dispelling Jiaoer Soup&quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &quot;Cold Dispelling Jiaoer Soup&quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)<br /> <br /> In fact, the way of making &quot;Cold Dispelling Jiaoer Soup&quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &quot;Jiao Er&quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&quot; (首都医药 2003, 40)<br /> <br /> At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)<br /> <br /> <br /> [[File:Zhang_Zhongjing.jpg]]<br /> <br /> ===References===<br /> <br /> 2003(17). 张仲景故乡的二十四个故事(六) 饺子的来历[J]. 首都医药.<br /> <br /> Zhang Maoyun 张茂云. 2014(04). 伤寒杂病论成书年代及仲景生平年代考历[J]. 中国中医药现代远程教育.<br /> <br /> Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. 2013(07). “医圣”张仲景[J]. 中国卫生人才.<br /> <br /> Zhang Deli 张德礼. 2019(05). 心系百姓的“医圣”张仲景[J]. 现代班组.<br /> <br /> Tan Rongzhou 覃荣周. 2013(07). 张仲景对我国医学发展的历史贡献[J]. 兰台世界.<br /> <br /> Zhao Qingxin 赵清新. 1999(05). 万世医宗张仲景[J]. 解放军健康.<br /> <br /> 2020(03). 张仲景:“医圣”之名传天下[J]. 天一. 月读.<br /> <br /> ===Terms and Expressions===<br /> <br /> medical sage 医圣<br /> <br /> Treatise on Febrile and Miscellaneous Diseases《伤寒杂病论》<br /> <br /> treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治<br /> <br /> yamen 衙门<br /> <br /> Great Cold ( 24th solar term ) 大寒<br /> <br /> Slight Cold ( 23rd solar term ) 小寒<br /> <br /> look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切<br /> <br /> Cold Dispelling Jiaoer Soup 祛寒娇耳汤<br /> <br /> ===Questions===<br /> <br /> 1. What's the honorable title Zhang Zhongjing addressed as?<br /> <br /> 2. What's the official role Zhang once taken?<br /> <br /> 3. When would Zhang treat patients for free at yamen?<br /> <br /> 4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?<br /> <br /> 5. What's the relationship between Zhang Zhongjing and dumplings?<br /> <br /> ===Answers===<br /> <br /> 1. Chinese Medical Sage.<br /> <br /> 2. Changsha magistrate.<br /> <br /> 3. He treated patients for free on the first and fifteenth days of every lunar month.<br /> <br /> 4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.<br /> <br /> 5. Dumplings are derived from the recipe &quot; Cold Dispelling Jiaoer Soup&quot; developed by Zhang Zhongjing.<br /> <br /> --[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)<br /> <br /> ==Architecture, Qingming Riverside Landscape Garden-Zeng Liang 曾良 （major）202070080578==<br /> <br /> ===Introduction===<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, and covering an area of more than 600 acres, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the Northern Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park covering an area of more than 600 acresand showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the earlier Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and also, the first batch of 5A-level tourist attractions and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)(文件无效)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng as the capital of the Northern Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, People can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng, the capital of the earlier Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, people can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> There are eight functional zones including posthouse, folk custom, characteristic food street, demonstration of culture in Song Dynasty, flower, bird, fish, bug, prosperous capital, leisure and shopping, and integrated service, and four cultural zones including military drill ground, Rainbow Bridge, folk custom, and capital of Song Dynasty. The main architechtures of the garden include gate building, rainbow bridge, street view, stores, river channels, wharfs and ships. According to the original layout of ''Riverside Scene at Qingming Festival'', the garden presents the fabrications on site such as wine shops, teahouses, pawnshops, Bian (today’s Kaifeng) embroideries, official porcelains, and New Year paintings, gathers folk performance, vaudeville, and drum performance. (Gao Jing 2010,18)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050, and it was reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The Fuyun Pavillion is 31.99 meters high and it is the tallest building in the garden. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050 and reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The tallest building in the garden, the Fuyun Pavillion is 31.99 meters high. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> Every year, Qingming Riverside Landscape Garden will hold a series of cultural festivals, such as folk cultural festival of Song Dynasty, Qingming cultural festival, and chrysanthemum cultural festival. During the folk cultural festival of Song Dynasty, the scenic spot will gather unique folk performances across the country, such as flower-drum on the high platform, stilt, dragon dance, lion dance, small Henan opera. The international lantern exhibition is the highlight of folk cultural festival of Song Dynasty. A visual feast will be brought by auspicious tradition of Chinese Pavilion, the fresheness and refineness of Asian Pavilion, simplicity and fashion of European Pavilion, the quaint Buddhism of the Southeast Asia Pavilion, and the luxurious atmosphere of the African Pavillion. During the Qingming Festival, the garden will hold some Qingming cultural festivals to promote traditional festival culture. At that time, vistors can have an outing in spring, plant willion trees, watch folk customs, taste snacks, and enjoy the large-scale water live performances called ''“Luxuriant Dream of the East Capital of the Great Song Dynasty”.'' This event combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. Chrysanthemum cultural festival is another grand festivl in the garden, during which all kinds of chrysanthemums will be presented.The annual chrysanthemum festival in Kaifeng is held from October to November. Qingming Riverside Landscape Garden focuses on beautiful chrysanthemum plants, and makes full of architectures, sculptures, mountains, the surface of the water and association of activity and inertia to highlight the cultivated and creative skills of Kaifeng people. Chrysanthemums are changed into various shapes, which attracted thousands of visitors from all over the world. In the exhibition, visitors can enjoy and appreciate some species of chrysanthemum that are rarely seen in our daily life. (Zhang Lu 2013,24)<br /> <br /> There are vaious performances presented in the Qingming Riverside Landscape Garden, such as ''Luxuriant Dream of the East Capital of the Great Song Dynasty'', ''Baogong Salute to Guests'', ''Spitting Fire Show'', '''Cockfight''', ''Women’s Polo'' and so on. Among these formances, ''Luxuriant Dream of the East Capital of the Great Song Dynasty'' is a representative show of the garden. It is a large-scale live water performance produced by Qingming Riverside Landscape Garden. The performance is lasted for 70 minutes and is performed by more than 700 actors. It is a scroll about the heyday of the Northern Song Dynasty. The bustling scene of the Song Dynasty market, the prosperity of the capital of Bianliang(today’s Kaifeng), the mighty momentum of luxurious neighboring countries, the tragedy of wars, and the sustenance of blessings constitute a wash painting with a combination of noise and tranquility.(Gao Jing 2010,16)<br /> <br /> Ancient Chinese architectures and western architectures are different. The ancient architectures of China can be divided into palace architecure, religious architecture, mansion architecture and public architecture, which can be seen in the Qingming Riverside Landscape Garden. Compared with the Gothic architecture during the Middles Ages of the western Europe, the architecture of Song Dynasty shows a delicate and soft style, with complex forms of palaces, terraces, towers and pavilions, while Gothic archetecture is magnificent and exquisite. It has pointed vaults, which give people a visual impact and have a strong religious color.(Pang Runxin 2019,10)<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Qingming Riverside Landscape Garden'' 清明上河园<br /> <br /> ''Riverside Scene at Qingming Festival''《清明上河图》<br /> <br /> Rainbow Bridge虹桥<br /> <br /> Fuyun Pavillion浮云阁<br /> <br /> Shangshan Gate 上善门<br /> <br /> chrysanthemum菊花<br /> <br /> ''Baogong Salute to Guests''包公迎宾<br /> <br /> ''Spitting Fire Show''气功喷火<br /> <br /> ''Cockfight''斗鸡<br /> <br /> ''Women’s Polo''女子马球<br /> <br /> ''Luxuriant Dream of the East Capital of the Great Song Dynasty''《大宋·东京梦华》<br /> <br /> ===Questions===<br /> <br /> 1.What is the location of ''Qingming Riverside Landscape Garden''?<br /> <br /> 2.What’s the role of ''Qingming Riverside Landscape Garden'' in China?<br /> <br /> 3.When was ''Qingming Riverside Landscape Garden'' opened to the public?<br /> <br /> 4.Who is the painter of ''Piverside Scene at Qingming Festival''?<br /> <br /> 5.Which dynasty of the painting ''Qingming Riverside Landscape Garden'' present?<br /> <br /> 6.What does the name of ''Fuyun Pavilion'' mean?<br /> <br /> 7.What’s the characteristics of the performance of ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> 8.Can you please list some kinds of performance of ''Qingming Riverside Landscape Garden'' besides ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> ===Answers===<br /> <br /> 1.It is located on the west bank of ''Dragon Pavilion'' in Kaifeng, Henan Province.<br /> <br /> 2.In 2009, ''Qingming Riverside Landscape Garden'' was chosed as China’s first theme park in the style of the ancients by ''China World Records Association''. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s ''intangible cultural heritage exhibition base''. <br /> <br /> 3.It was officially opened to the public on October 28, 1998.<br /> <br /> 4.Zhang Zeduan.<br /> <br /> 5.Northern Song Dynasty.<br /> <br /> 6.The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map.<br /> <br /> 7.It combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. <br /> <br /> 8.''Baogong Salute to Guests'', ''Spitting Fire Show'', ''Cockfight'', ''Women’s Polo''.<br /> <br /> ===References===<br /> <br /> Chen Kang 陈康.(2006).《清明上河园》的精彩场景——贯木拱虹桥[Excellent Scenes of Qingming Riverside Landscape Garden——Wooden Arch Rainbow Bridge].集邮博览Philatelic Panorama(07)62-63.<br /> <br /> Gao Jing高静.(2010). 清明上河园——玩转宋文化[Qingming Riverside Landscape Garden—Fully Experience the Culture of Song Dyansty].光彩Brilliance(04)16-19.<br /> <br /> Li Mei李梅.(2007).清明上河园特色建设与长远发展[Distinctive Architecture of Qingming Riverside Landscape Garden nd its Long Development].合作经济与科技Co-operative Economyand Science(8)10-12.<br /> <br /> Pang Runxin庞润昕.(2019).《清明上河图》的建筑艺术[Architectural Art in Paintings of Riverside Scene Qingming Festival].景德镇陶瓷大学Jingdezheng Ceramic Institute(06)10-16.<br /> <br /> Wei Tuo韦陀.(2006).张择端之《清明上河图》[Riverside Scene at Qingming Festival Painted by Zhang Zeduan].紫禁城Forbidden City（Z2)13-15.<br /> <br /> Zhang Lu张璐.(2013).清明上河园与宋都文化传承创新研究[Inheritance and Innovation Research Study of “Qingming River” Song Dynasty Theme Park].赤峰学院学报Chi Feng College Journal(05)23-27.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:06, 12 December 2020 (UTC) (标点符号之间需要空格）--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_1&diff=112961 2020-12-16T06:49:42Z

<p>Sagara Seydou 3: /* Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581 */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Astrology - Alsied, Saffana==<br /> &quot;Chinese Astrology&quot;--[[User:SAFFANA ALSIED ,Student No:......... Major...........<br /> <br /> ===The History===<br /> <br /> So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the source is coming from ?<br /> <br /> ===The Five Elements And YIN/YANG===<br /> <br /> Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation please?<br /> <br /> A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?<br /> <br /> ===THE FORCES OF YIN / YANG===<br /> <br /> Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.<br /> <br /> A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?<br /> <br /> Chinese astrology was invented to achieve the two following goals;<br /> <br /> 1.) To predict the future,<br /> <br /> 2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise. <br /> <br /> According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?<br /> <br /> Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?<br /> <br /> The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?<br /> <br /> You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Chinese Astrology 中国占星学<br /> <br /> 2. Chinese Zodiac 中国十二生肖<br /> <br /> 3. Agricultural calendar 农业日历<br /> <br /> 4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）<br /> <br /> 5. The Oriental philosophy 东方哲学<br /> <br /> ===Questions===<br /> <br /> 1-Why was Chinese astrology invented?<br /> <br /> 2-How Chinese astrology relates to a person’s divine destiny?<br /> <br /> 3-What important role does the Chinese zodiac play in Chinese culture?<br /> <br /> 4- What is Chinese astrology based on?<br /> <br /> 5-Is Chinese astrology accurate?<br /> <br /> ===Answers===<br /> 1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.<br /> <br /> 2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.<br /> <br /> 3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.<br /> <br /> 4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.<br /> <br /> 5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> ===References===<br /> <br /> Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9<br /> <br /> 何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591<br /> <br /> Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.<br /> <br /> Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.<br /> <br /> &quot;&quot;Almanac&quot; &quot;lunar&quot; zodiac beginning of spring as the boundary dislocation? — China Network&quot;. 16 February 2009. Retrieved 5 January 2011.<br /> <br /> Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.<br /> <br /> &quot;Five Elements(Wu Xing)&quot;. YourChineseAstrology.com<br /> <br /> ==Spring Festival Couplets - Cao Runxin 曹 . Student No: ...........Major.............Please ?<br /> [[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]<br /> <br /> ===Spring Festival Couplets===<br /> Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).<br /> <br /> Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).<br /> <br /> The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).<br /> <br /> There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).<br /> <br /> ===References===<br /> <br /> *Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.<br /> *Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.<br /> *Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.<br /> *Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.<br /> <br /> <br /> ===Terms and Expressions ===<br /> Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 <br /> <br /> Paste 贴<br /> <br /> Horizontal scroll 横联<br /> <br /> Upper scroll 上联<br /> <br /> Lower scroll 下联<br /> <br /> ===Questions ===<br /> 1.What’s the purpose of pasting Spring Festival Couplets?<br /> <br /> To expresses people’s delight in the festival and wishes for a better life in the coming year.<br /> <br /> 2.What’s the historical origin of Spring Festival Couplets?<br /> <br /> It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.<br /> <br /> 3.How to read the Spring Festival Couplets?<br /> <br /> First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. <br /> <br /> 4.How to do with the Old Couplets?<br /> <br /> Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.<br /> <br /> ==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - Translation 英语笔译==<br /> <br /> [[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]<br /> <br /> ===Guzheng===<br /> <br /> ''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.<br /> <br /> There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).<br /> <br /> The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)<br /> <br /> [[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=古筝&amp;step_word=&amp;hs=0&amp;pn=27&amp;spn=0&amp;di=9900&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3246661627%2C3658564396&amp;os=3335747328%2C3552694810&amp;simid=0%2C0&amp;adpicid=0&amp;lpn=0&amp;ln=1718&amp;fr=&amp;fmq=1607348039297_R&amp;fm=result&amp;ic=&amp;s=undefined&amp;hd=&amp;latest=&amp;copyright=&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;gsm=1c&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]for original source.]]<br /> <br /> The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)<br /> <br /> Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several other schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)<br /> <br /> In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang played the ''guzheng'' to merge the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)<br /> <br /> From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.<br /> <br /> ===References===<br /> <br /> *Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.<br /> *Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.<br /> *Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. <br /> *Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.<br /> *Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.<br /> *Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.<br /> *Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.<br /> <br /> ===Terms and Expressions===<br /> <br /> *Meng Tian 蒙恬 <br /> *Zhao Lin 赵璘<br /> *''Records on Words'' 《因话录》<br /> *anterior mountain 前岳山 <br /> *posterior mountain 后岳山<br /> *''Yan Zhu'' 雁柱 <br /> *string pegs 弦钉<br /> *turning box 调音盒 <br /> *zither feet 琴足<br /> *paulownia 桐木 <br /> *mahogany 红木<br /> *''Dai Mao'' 玳瑁<br /> *''Yi Jia'' 义甲<br /> *''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹<br /> *''High Mountains and Running Water'' 《高山流水》<br /> *''The Autumn Moon in the Han Palace'' 《汉宫秋月》<br /> *''Jackdaw Playing in the Water'' 《寒鸦戏水》<br /> *''The Tune of Liu Qing Niang'' 《柳青娘》<br /> *Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香<br /> *Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望<br /> *''National Music Ceremony'' 《国乐大典》<br /> <br /> ===Questions===<br /> <br /> 1. What kind of musical instrument does the ''guzheng'' belong to?<br /> <br /> 2. Why the ''guzheng'' is deeply loved by Chinese? <br /> <br /> 3. Who is Meng Tian? <br /> <br /> 4. According to the legend, how did the ''se'' develop into the ''zheng''?<br /> <br /> 5. How many strings does the ''guzheng'' have? How long is the guzheng?<br /> <br /> 6. What is the function of movable bridges?<br /> <br /> 7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? <br /> <br /> 8. In ancient times, what materials were the fingerpicks made of?<br /> <br /> 9. Generally speaking, how does the players strike notes? <br /> <br /> 10. What styles can ''guzheng'' be divided into?<br /> <br /> 11. Which school does ''The Autumn Moon in the Han Palace'' belong to? <br /> <br /> 12. Do you know any other ''guzheng'' music? Please list some pieces.<br /> <br /> ===Answers===<br /> <br /> 1. It belongs to plucked stringed instruments.<br /> <br /> 2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. <br /> <br /> 3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.<br /> <br /> 4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. <br /> <br /> 5. It usually has 21 strings and is 163 centimeters long. <br /> <br /> 6. They are moved to change the timbres.<br /> <br /> 7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.<br /> <br /> 8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.<br /> <br /> 9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. <br /> <br /> 10. The Northern school and the Southern school.<br /> <br /> 11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.<br /> <br /> 12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).<br /> <br /> ==Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581. Major:.........<br /> ===Facial makeup===<br /> <br /> Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)<br /> <br /> People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)<br /> <br /> The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)<br /> <br /> Red<br /> <br /> Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.<br /> <br /> Black<br /> <br /> Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.<br /> <br /> White<br /> <br /> White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.<br /> <br /> Blue<br /> <br /> Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.<br /> <br /> Purple<br /> <br /> Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.<br /> <br /> Golden<br /> <br /> Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).<br /> <br /> The features of facial makeup are mainly as follows:<br /> First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.<br /> It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.(Cao Juan, 2019, 61)<br /> <br /> ===B. Terms and Expressions===<br /> <br /> painted face 花脸<br /> <br /> clown 丑角<br /> <br /> Sheng 生<br /> <br /> Dan 旦<br /> <br /> Jing 净<br /> <br /> Chou 丑<br /> <br /> Qingyi 青衣<br /> <br /> xiaosheng 小生<br /> <br /> laosheng 老生<br /> <br /> wusheng 武生<br /> <br /> Gao Changgong 高长恭<br /> <br /> legend，romance 传奇剧<br /> <br /> Erlang Shen, Erlang 二郎神<br /> <br /> Tathagata, Buddha 如来佛<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Water Margin of the Marsh 水浒传<br /> <br /> ===C. Questions===<br /> <br /> 1.How many types are character roles divided into in Beijing opera?<br /> <br /> 2.What are the differences bbetween Sheng and Dan?<br /> <br /> 3.What are the special features of Chou?<br /> <br /> 4.What is the function of facial mask in Beijing opera?<br /> <br /> 5.What are the main features of facial makeup?<br /> <br /> 6.What are the characteristics of characters wearing blue facial makeup?<br /> ===Answers===<br /> 1.Four types:Sheng, Dan, Jing and Chou.<br /> <br /> 2.Sheng refers to male roles while Dan refers to female roles.<br /> <br /> 3.A patch of white powder is wiped on their nose.<br /> <br /> 4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. <br /> <br /> 5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.<br /> <br /> 6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly<br /> <br /> ===References===<br /> <br /> He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.<br /> <br /> Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.<br /> <br /> Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.<br /> <br /> ==Literature, Science Fiction and Fantasy - Dashkin, Gennadii - Student No.201911080001==<br /> === Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===<br /> <br /> <br /> Nowadays, modern literature is one of most interesting and gorgeous side of the worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that modern generation in the whole world prefer to read something about the future. Something, that can help to understand of what will be next. And that is why, one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broads our mind horizons.<br /> <br /> ====1.Liu Cixin（刘慈欣）====<br /> <br /> <br /> Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976).(Alexandra Alter,How Chinese Sci-Fi Conquered America 2019, 1)<br /> <br /> Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. <br /> <br /> Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written and naive and decided that he did not deserve publication.However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &quot;Supernova Era&quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence.(Liu Cixin, Supernova Era 2019,352)<br /> <br /> Liu's first books were warmly received in China, but nevertheless real success came to the author only in 2006, when he published the first part of his trilogy &quot;Memory of the Earth's Past&quot; - the novel &quot;The Problem of Three Bodies&quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &quot;The Three-Body Problem,&quot; although this is not formally true.<br /> <br /> In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.<br /> <br /> Liu Cixin is definitely a unique writer, with his own style, philosophy and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics, but also to science fiction literature.<br /> <br /> ====2.Chen Qiufan (陈楸帆） ====<br /> <br /> <br /> Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.<br /> <br /> Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.<br /> <br /> His debut book was ''The Empty Wave'', &quot;combining realism and allegory to represent the hybridity of humans and machines.&quot; Chen Qiufan's novels and stories won three Galaxy Awards, and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish and Russian.<br /> <br /> His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of the humanity progress.<br /> <br /> ====3.Rebecca F. Kuang (匡蘦秀)====<br /> <br /> <br /> When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.<br /> <br /> Quang grew up in Dallas, Texas and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.<br /> <br /> Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.<br /> <br /> Her debut novel, The Opium War, is a war fantasy set inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological and philosophical realities of China of the chosen era.<br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Science fiction - 科幻<br /> <br /> 2. Fantasy - 奇幻<br /> <br /> 3. Horizon - 地平线<br /> <br /> 4. Broad - 拓宽<br /> <br /> 5. Hybrid - 杂种<br /> <br /> 6. The plot - 情节<br /> <br /> 7. Garbage - 垃圾堆<br /> <br /> 8. Heyday - 壮年<br /> <br /> 9. Supernova - 超新星<br /> <br /> ===Questions===<br /> <br /> 1. What was the first book written by Liu Cixin?<br /> <br /> 2. What is the most popular trilogy of books written by Liu Cixin?<br /> <br /> 3. Who is called as Chinese William Gibson?<br /> <br /> 4. What is Rebecca Quang's Opium War plot based on?<br /> <br /> ===Answers===<br /> <br /> 1. Supernova Era<br /> <br /> 2. Memory of the Earth's Past<br /> <br /> 3. Chen Qiufan (陈楸帆）<br /> <br /> 4. The plot is largely based on the history of China in the middle of the 20th century.<br /> <br /> ===References===<br /> <br /> 1. Alexandra Alter,How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html<br /> <br /> 2. Liu Cixin, Supernova Era, 2019. 352 pp.<br /> <br /> 3. Chen Qiufan, Waste Tide, 2019. 342 pp.<br /> <br /> 4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.<br /> <br /> ==Stilts - Chen Yongxiang 陈永相 英语笔译 202070080582==<br /> [[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;fm=26&amp;gp=0.jpg] for original source.]]<br /> <br /> ===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===<br /> <br /> &lt;center&gt;Chen Yongxiang 陈永相 英语笔译 202070080582&lt;/center&gt;<br /> <br /> ====Introduction====<br /> <br /> Stilt is one of the folk dances of the Han nationality in our country, which is called &quot;Stilt Yangko&quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.<br /> <br /> As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &quot;Tongle Gaojiaohui&quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.<br /> <br /> The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who hold the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.<br /> <br /> Miliangtun Village Stilts as a renowned fair, known as the features of risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.<br /> <br /> There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilts is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.<br /> <br /> ====Terms and Expressions====<br /> <br /> Miliangtun (village name) 米粮屯<br /> <br /> stilts 高跷<br /> <br /> intangible cultural heritage 非物质文化遗产<br /> <br /> folk dance 民间舞蹈<br /> <br /> Toutou 陀头<br /> <br /> Laozuozi 老坐子 <br /> <br /> young boy 小二哥<br /> <br /> young master 公子<br /> <br /> Mr.Plaster 药先生<br /> <br /> Choupo 丑婆<br /> <br /> fisherman渔翁<br /> <br /> Yupo 渔婆 <br /> <br /> wood-cutter 柴翁<br /> <br /> handsome and ugly drum-players 俊鼓和丑鼓<br /> <br /> handsome and ugly gong-players 俊锣和丑锣<br /> <br /> ====Questions====<br /> <br /> 1. Where does Miliangtun Village Stilts originate?<br /> <br /> 2. How many years of history does Miliangtun Village Stilts have?<br /> <br /> 3. How many roles in Miliangtun Village Stilts?<br /> <br /> 4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?<br /> <br /> 5. How long is the shortest and the longest stilts?<br /> <br /> ====Answers====<br /> <br /> 1. Wangzuo Town, Fengtai District, Beijing.<br /> <br /> 2. More than 250 years.<br /> <br /> 3. 13.<br /> <br /> 4. In 2006.<br /> <br /> 5. The shortest stilt is two feet long, and the longest reaches over five feet.<br /> <br /> ====References====<br /> <br /> Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.<br /> <br /> Sun Miao 孙淼. (2018). &quot;一跷多艺&quot;: 胜芳高跷会的舞体表征与比较研究. [&quot;Multi-skills with one stilt&quot;: A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.<br /> <br /> https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin<br /> <br /> https://baijiahao.baidu.com/s?id=1643344511003907548&amp;wfr=spider&amp;for=pc<br /> <br /> <br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)<br /> <br /> ==Chinese Lion Dancing - Ding Daifeng 丁代凤==<br /> <br /> ===Introduction===<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.<br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)<br /> <br /> <br /> In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)<br /> <br /> ===Northern lion dancing===<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)<br /> <br /> ===Southern lion dancing===<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)<br /> <br /> Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)<br /> <br /> In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)<br /> <br /> ===Terms and Expressions===<br /> <br /> Western Regions 西域<br /> <br /> mount 坐骑<br /> <br /> Manjusri Bodhisattva 文殊菩萨<br /> <br /> gong 锣<br /> <br /> northern lion dancing 南狮<br /> <br /> southern lion dancing 北狮<br /> <br /> colorful silk ball 绣球<br /> <br /> wooden stakes 木桩<br /> <br /> spiritual resemblance神似<br /> <br /> Liu Bei lion 刘备狮<br /> <br /> Guan Gong lion 关公狮<br /> <br /> Zhang Fei lion 张飞狮<br /> <br /> sworn brothers 结义兄弟<br /> <br /> horse stances 马步<br /> <br /> Cai Qing 采青<br /> <br /> lettuces 生菜<br /> <br /> ===Questions===<br /> <br /> 1. How long is the history of lion dance in China?<br /> <br /> 2. Why did people gradually accept lion as a sacred animal?<br /> <br /> 3. Why did people use lion dance to celebrate the New Year?<br /> <br /> 4. What is the main difference between southern lion dancing and northern lion dancing?<br /> <br /> 5. What is the center of southern lion dancing?<br /> <br /> 6. How many colors are there in the heads of southern lions? And what are they?<br /> <br /> 7. What is “Cai Qing”? And what do you know about “Cai Qing”?<br /> <br /> ===Answers===<br /> <br /> 1. It is with a history of about 2000 years.<br /> <br /> 2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.<br /> <br /> 3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.<br /> <br /> 4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.<br /> <br /> 5. It is in southern China’s Guangdong province.<br /> <br /> 6. The head of southern lion has three colors, namely black, red and yellow.<br /> <br /> 7. It means &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming.<br /> <br /> ===References===<br /> <br /> Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.<br /> <br /> Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.<br /> <br /> Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.<br /> <br /> Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.<br /> <br /> ==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==<br /> ===A. The Eight Tang-Song Prose Masters===<br /> [[File:Tang Song Ba Da Jia.jpg]]<br /> <br /> ===Brief Introduction of The Eight Tang-Song Prose Masters===<br /> <br /> The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &quot;Ancient Prose Movement&quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25） <br /> In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)<br /> <br /> '''1. Han Yu'''<br /> [[File:Han Yu.jpg]]<br /> <br /> Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)<br /> Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)<br /> <br /> '''2. Liu Zongyuan'''<br /> [[File:Liu Zongyuan.jpg]]<br /> <br /> Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &quot;Liu Hedong &quot;, &quot; Mr. Hedong &quot;, also known as&quot; Liu Liuzhou &quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor .<br /> He was juxtaposed with Han Yu as &quot;Han Liu &quot;, with Liu Yuxi as &quot; Liu Liu &quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &quot;Wang Meng Wei Liu &quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &quot;Liu He Dong Colloection&quot; was one of his representatives. (Zhou Zhenfu 2016, 26)<br /> He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)<br /> <br /> '''3. Ouyang Xiu'''<br /> [[File:Ouyang Xiu.jpg]]<br /> <br /> Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.<br /> Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.<br /> Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)<br /> <br /> '''4. Su Xun'''<br /> [[File:Su Xun.jpg]]<br /> <br /> Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.<br /> Su Xun was a man of political ambition. He said that the main purpose of his works was &quot;to speak for the world &quot;, to&quot; apply to the present &quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)<br /> <br /> '''5. Su Shi'''<br /> [[File:Su Shi.jpg]]<br /> <br /> Su Shi, with a fame as &quot; Dongpo Jushi &quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .<br /> Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &quot;Han Chao Su hai&quot; with Han Yu in the prose area, &quot;Ou Su&quot; with Ouyang Xiu, &quot;Su Huang&quot; with Huang Tingjian, and &quot;Su Xin&quot; with Xin Qiji in the Ci area, so he was called &quot;the first all-round talent in ancient China&quot;.(Zhou Zhenfu 2016, 28)<br /> Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &quot;creating for certain purposes&quot;, advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.<br /> <br /> '''6. Su Zhe'''<br /> [[File:Su Zhe.jpg]]<br /> <br /> Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch.<br /> Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &quot;literary style&quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &quot;Ode to Ink bamboo&quot;.(Zhou Zhenfu 2016, 29)<br /> <br /> '''7. Wang Anshi'''<br /> [[File:Wang Anshi.jpg]]<br /> <br /> Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .<br /> Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)<br /> <br /> '''8. Zeng Gong'''<br /> [[File:Zeng Gong.jpg]]<br /> <br /> Zeng Gong was known as &quot;Mr. Nan Feng&quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &quot;eight masters&quot; of the Tang and Song Dynasties, he was also one of the &quot;Seven Zengs of Nanfeng&quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.<br /> <br /> '''9. Comparison between the Ancient Prose Movement and Renaissance'''<br /> Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)<br /> <br /> Comparison in ideology:<br /> The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.<br /> <br /> Comparison in writing style:<br /> The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)<br /> <br /> Comparison in literary form:<br /> The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&quot; Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)<br /> <br /> ===B. Terms and Expressions===<br /> The Eight Tang-Song Prose Masters 唐宋八大家<br /> <br /> Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》<br /> <br /> Ancient Prose Movement 古文运动<br /> <br /> parallel prose 骈文<br /> <br /> The Decline of Eight Generations 文起八代之衰<br /> <br /> The Article Giant 文章巨公<br /> <br /> Admired Literate of One Hundred Generations 百代文宗<br /> <br /> Han Changli Collection 《韩昌黎集》<br /> <br /> External collection 《外集》<br /> <br /> The Teacher's Theory《师说》<br /> <br /> Pre-Qin and Han Dynasties 先秦两汉时期<br /> <br /> writing in classical Chinese 文言文<br /> <br /> feudal provincial of Liuzhou 柳州刺史<br /> <br /> official supervisor of imperial censor 监察御史<br /> <br /> Liu He Dong Colloection 《柳河东集》<br /> <br /> Northern Song Dynasty 北宋<br /> <br /> a thousand volumes of collections of inscriptions 金石遗文一千卷<br /> <br /> Xia, Shang, Zhou Dynasties 三代<br /> <br /> the crown of that time 一时之冠<br /> <br /> Southern Tang Dynasty 南唐<br /> <br /> Yu Feng 余风<br /> <br /> The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》<br /> <br /> the Northern Song Dynasty poetry innovation movement北宋诗文革新运动<br /> <br /> Heng Lun 《衡论》<br /> <br /> Duke Jingguo 荆国公<br /> <br /> The Book to the Emperor 《上皇帝书》<br /> <br /> Dongpo Jushi 东坡居士<br /> <br /> Ci writer 词人<br /> <br /> Unconstrained Ci School豪放派<br /> <br /> literary and artistic attainments 文学艺术造诣<br /> <br /> the first all-round talent in ancient China 中国古代第一全才<br /> <br /> Su Men Four bachelors 苏门四学士<br /> <br /> the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》<br /> <br /> The New Theory《新论》<br /> <br /> On the Six Kingdoms 《六国论》<br /> <br /> Ode 赋<br /> <br /> The Ode to Ink bamboo 《墨竹赋》<br /> <br /> Seven Zengs of Nanfeng 南丰七曾<br /> <br /> the doctrine before the text先道后文<br /> <br /> the Book to Ouyang She Ren 《上欧阳舍人书》<br /> <br /> the Book to Bachelor Cai 《上蔡学士书》<br /> <br /> the Six Dynasties 六朝<br /> <br /> ===C. Questions===<br /> 1.Who are the pioneers of the Ancient Prose Movement?<br /> <br /> 2.Which kind of prose they advocate in the Ancient Prose Movement?<br /> <br /> 3.Do you know any representatives of Liu Zongyuan?<br /> <br /> 4.Why Ouyang Xiu is called &quot;Liu Yi Scholar&quot;?<br /> <br /> 5.What’s the relationship among Su Xun, Su Shi and Su Zhe?<br /> <br /> 6.Who are the &quot;Seven Zengs of Nanfeng&quot;?<br /> <br /> 7.Do you know any about the Renaissance?<br /> <br /> ===D. Answers===<br /> <br /> 1.Han Yu and Liu Zongyuan.<br /> <br /> 2.The prose of Pre-Qin and Han Dynasties.<br /> <br /> 3.The &quot;Liu He Dong Colloection&quot;.<br /> <br /> 4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.<br /> <br /> 5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.<br /> <br /> 6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> <br /> 7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.<br /> <br /> ===References===<br /> Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.<br /> <br /> Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.<br /> <br /> He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.<br /> <br /> Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.<br /> <br /> Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).<br /> <br /> Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.<br /> <br /> Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.<br /> <br /> ==Music, Instruments, Pipa - Gao Mingzhu 高明珠==<br /> [Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu<br /> <br /> '''1. A Brief Introduction'''<br /> <br /> Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&quot; and &quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)<br /> <br /> '''2.The Development of Pipa'''<br /> <br /> The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)<br /> <br /> During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one kind playing skill in playing pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16) <br /> <br /> There was only one kind playing skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from small to popular. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> '''3.Pipa Schools and Their Chracteristics'''<br /> <br /> The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)<br /> <br /> (1)The Wuxi school<br /> <br /> The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)<br /> <br /> (2)The Pinghu school<br /> <br /> The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as &quot; paired butterfly flying&quot; .(Deng Sijia 2020,10)<br /> <br /> (3)The Pudong School <br /> <br /> Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)<br /> <br /> (4)The Chongming school<br /> <br /> The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)<br /> <br /> (5)The Shanghai school<br /> <br /> This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)<br /> <br /> '''4.Traditional Pipa Music'''<br /> <br /> Traditional pipa music can be divided into military songs, literary songs and military-literary songs.<br /> <br /> Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are &quot;Ambush on All Sides&quot;, &quot;Bury Me High&quot;, &quot;Hai Qing Hunting the Swan&quot;, &quot;General Order in the Han Dynasty&quot;. [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)<br /> <br /> Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; and so on.<br /> <br /> Military-literary song is the combination of martial song and literary song. The representative songs are &quot;The Spring Snow&quot;, &quot;High Mountain and Flowing Water&quot;, &quot;Dragon Boat&quot;, &quot;Flute and Drum at Sunset&quot; and so on.<br /> <br /> '''5.Refferences''' [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> [1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020<br /> <br /> [2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.<br /> <br /> [3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.<br /> <br /> [4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.<br /> <br /> [Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> '''6.Terms and Expressions'''<br /> <br /> 弹拨乐器—plucked instruments<br /> <br /> 汉化—Chinesization<br /> <br /> 套曲—divertimentoes<br /> <br /> 游牧民族—nomad tribe<br /> <br /> 宫廷乐—court music<br /> <br /> 轮指法—tremolo<br /> <br /> 音色—timbre<br /> <br /> 曲目—repertoire<br /> <br /> 并弦—parallel string<br /> <br /> 指法—fingering techniques<br /> <br /> '''7.Questions'''<br /> <br /> 1、How many stages did pipa go through during its development?<br /> <br /> 2、What characteristics did pipa have during Wei and Jin dynasties?<br /> <br /> 3、What changes had been made to pipa during Ming and Qing dynasties?<br /> <br /> 4、How many schools does pipa have and what are they?<br /> <br /> 5、Can you list at least 3 representative repertoires of literary songs played by pipa? <br /> <br /> '''8.Answers'''<br /> <br /> 1、Four.<br /> <br /> 2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.<br /> <br /> 3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. <br /> <br /> 4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school. <br /> <br /> 5、&quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; .<br /> <br /> [Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> ===Terms and Expressions===<br /> ===xxx===<br /> <br /> ==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001== Major.................<br /> === Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === <br /> <br /> The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?<br /> <br /> '''1. Huli-jing (狐狸精) in China'''<br /> <br /> First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.<br /> <br /> People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.<br /> <br /> Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.<br /> <br /> The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.<br /> <br /> Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.<br /> A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &quot;Good Hunt&quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.<br /> <br /> In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &quot;Painted Skin (畫皮)&quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.<br /> <br /> In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.<br /> <br /> Quite a lot of information about werewolf foxes can be obtained from the TV series &quot;The Legend of the Nine-Tailed Fox&quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.<br /> <br /> Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.<br /> <br /> The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.<br /> <br /> '''2. Kitsune (キツネ) in Japan''' <br /> <br /> In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&quot;Fox-messenger&quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.<br /> <br /> Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.<br /> <br /> Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.<br /> <br /> A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. <br /> <br /> '''3. Kumiho (구미호) in Korea'''<br /> <br /> Kumiho - (구 &quot;ku&quot; - nine, 미 &quot;mi&quot; - tail, 호 &quot;ho&quot; - fox - &quot;fox with nine tails&quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.<br /> <br /> In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> Shape shifter – 成精<br /> <br /> Creature –生物<br /> <br /> Seductive –诱人的<br /> <br /> Damnation –诅咒<br /> <br /> Metaphor –隐喻<br /> <br /> Ascribe –属性<br /> <br /> Indigenous –土着<br /> <br /> Deity – 反面人物<br /> <br /> Liver – 肝脏<br /> <br /> ===References===<br /> <br /> 1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.<br /> <br /> 2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.<br /> <br /> 3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.<br /> <br /> ===Questions===<br /> <br /> 1. What was the attitude towards the Huli Jing in Ancient China?<br /> <br /> 2. Can we characterize Kitsune as a positive or negative character?<br /> <br /> 3. Could Kumiho become human forever?<br /> <br /> ===Answers===<br /> <br /> 1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.<br /> <br /> 2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.<br /> <br /> 3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.<br /> References ..................<br /> <br /> ==Chinese Characters - Gu Dongfang 顾东方==<br /> Chinese Characters<br /> <br /> ===Origin===<br /> <br /> Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）<br /> <br /> ===Evolution of Chinese characters===<br /> [[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]<br /> Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)<br /> <br /> ===Ancient Chinese characters===<br /> <br /> ====Oracle bone script====<br /> <br /> Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).<br /> <br /> ====Bronze script====<br /> <br /> In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.<br /> <br /> ====Seal script====<br /> Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. <br /> The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.<br /> <br /> ===Modern characters===<br /> ====Clerical script====<br /> <br /> After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.<br /> From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.<br /> <br /> ====Regular script====<br /> <br /> Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.<br /> <br /> ===Formation of Chinese characters===<br /> <br /> ====Pictograms====<br /> <br /> Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &quot;sun,&quot; 月 (yuè) for &quot;moon,&quot; and 木 (mù) for &quot;tree.&quot;<br /> <br /> ====Pictophonetic compounds====<br /> <br /> Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.<br /> <br /> ====Ideograph ====<br /> <br /> Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &quot;knife,&quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &quot;blade.&quot; Other common examples are 上 (shàng) for &quot;up&quot; and 下 (xià) for &quot;down.&quot; This category is small, as most concepts can be represented by characters in other categories.<br /> <br /> ====Logical aggregates====<br /> <br /> Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light.<br /> <br /> ====Associate transformation====<br /> <br /> Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &quot;elderly person,&quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.<br /> <br /> ====Borrowing ====<br /> <br /> Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)<br /> <br /> ===Simplification of Chinese characters===<br /> <br /> The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)<br /> <br /> ===Terms and expressions===<br /> <br /> 1.Oracle Bone Inscriptions  甲骨文<br /> <br /> 2.Bronze Inscriptions 金文<br /> <br /> 3.Small seal characters 小篆<br /> <br /> 4.Official script 隶书<br /> <br /> 5.Regular script 楷书<br /> <br /> 6.Cursive writing 草书<br /> <br /> 7.Cang Jie 仓颉<br /> <br /> <br /> 8.Clerical script 楷书<br /> <br /> 9.Su Shi 苏轼<br /> <br /> 10. Wang Xizhi 王羲之<br /> <br /> 11.Ou Yangxun 欧阳询<br /> <br /> 12.Yan Zhenqing 颜真卿<br /> <br /> 13.Pictograms 象形<br /> <br /> 14. Pictophonetic compounds 指事<br /> <br /> 15.Ideograph 会意<br /> <br /> 16.Logical aggregates 形声<br /> <br /> 17.Associate transformation 转注<br /> <br /> 18.Borrowing 假借<br /> <br /> ===Question===<br /> 1.How many Chinese characters are there?<br /> <br /> 2.How many letters are in the Chinese alphabet?<br /> <br /> 3. How many formations of Chinese characters? What are they?<br /> <br /> ===Answers===<br /> 1. According to the latest statics, there are nearly 91251 Chinese characters recorded .<br /> <br /> 2. There are 26 letters in Chinese alphabet.<br /> <br /> 3. Six formations are included in Chinese characters system, and they are Pictograms<br /> Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing<br /> <br /> ===References===<br /> <br /> 1.王显春. 汉字的起源[M]. 学林出版社, 2002.<br /> <br /> 2.刘又辛. &quot;关于汉字发展史的几个问题(上).&quot; 语文建设 12(1998):34-37.<br /> <br /> 3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188<br /> <br /> 4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.<br /> <br /> ==Chinese Knots - Guan Qinqing 管钦清==<br /> <br /> ===A.Chinese Knots===<br /> <br /> ====1.A Brief Introduction about Chinese Knots====<br /> <br /> The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It <br /> <br /> originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.<br /> <br /> The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.<br /> <br /> The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and <br /> <br /> personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which <br /> <br /> earned the knot its name.<br /> <br /> ====2.The Classification of Chinese Knots====<br /> <br /> There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥<br /> <br /> 结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井<br /> <br /> 结）,Cross Knot(十字结） and Ping Knot（平结）.<br /> <br /> Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. <br /> <br /> =====2.1.The Double Coin Knot=====<br /> <br /> Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views <br /> <br /> on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only <br /> <br /> represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &quot;luck money&quot;. Therefore, for <br /> <br /> the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes <br /> <br /> &quot;good things come in pairs&quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful <br /> <br /> patterns, such as clouds and Perfect Knots，etc.<br /> <br /> =====2.2.The Good Luck Knot=====<br /> <br /> As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.<br /> <br /> And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.<br /> <br /> =====2.3.The Pan Chang Knot=====<br /> <br /> Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the <br /> <br /> avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is <br /> <br /> often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.<br /> <br /> ====3.The Knitting Method of Chinese Knots====<br /> <br /> The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.<br /> <br /> The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.<br /> <br /> ====4.The Cultural Connotations of Chinese Knots====<br /> <br /> Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of <br /> <br /> rope and thread.In Chinese， &quot;rope&quot; (绳）and &quot;god&quot; （神）are homophonic, so the Chinese nation has a worship of &quot;rope&quot;. In addition, Chinese people are descendants of <br /> <br /> dragons.Because the shape of &quot;rope&quot; is like a winding dragon, people also regard &quot;rope&quot; as a symbol of dragon. Chinese people also have their own unique understanding of <br /> <br /> &quot;knot&quot;, which means reunion and happiness. Many of the Chinese words composed of &quot;结&quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交<br /> <br /> （making friends), and 永结同心（tie the knot),etc. &quot;结&quot;(knot) is also homonymous with &quot;吉&quot;（ausipiciousness), so people even think that &quot;knot&quot; is a symbol of good luck.<br /> <br /> ====5.Comparisons between Chinese Knots and Cross Necklaces====<br /> <br /> =====5.1.Different Cultural Connotations=====<br /> <br /> From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of <br /> <br /> Christianity. The cross, derived from the Latin &quot;crux&quot;, means &quot;fork&quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient <br /> <br /> Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross <br /> <br /> ornaments in the west as cross necknaces are usually used to represent love and salvation.<br /> <br /> =====5.2.Different Shapes=====<br /> <br /> Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have <br /> <br /> different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.<br /> <br /> ====6.References====<br /> <br /> 李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.<br /> <br /> 李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.<br /> <br /> 许星.路论中国结[J].丝绸,2004(02) : 46-47.<br /> <br /> 邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.<br /> <br /> 王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.<br /> <br /> ===B. Terms and Expressions===<br /> <br /> Double Coin Knot 双钱结<br /> <br /> Good Luck Knot 吉祥结<br /> <br /> Chinese Button Knot 纽扣结<br /> <br /> Sauvastika Knot 万字结<br /> <br /> Oxalis Knot 酢浆草结<br /> <br /> Pan Chang Knot 盘长结<br /> <br /> Round Brocade Knot 团锦结<br /> <br /> Caisson Celling Knot 藻井结<br /> <br /> Cross Knot 十字结<br /> <br /> Ping Knot 平结<br /> <br /> tie the knot 永结同心<br /> <br /> luck money 压岁钱<br /> <br /> the bishop's identity 主教职权<br /> <br /> ===C. Questions===<br /> <br /> 1. What is the Chinese knot?<br /> <br /> 2. Do you know the names of the main Chinese knots? What are they?<br /> <br /> 3. What do &quot;绳&quot; and &quot;结&quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> ==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==<br /> <br /> [[File:Chinese Mythology.jpg|thumb|right|Panku]]<br /> <br /> ===Introduction===<br /> <br /> The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.<br /> <br /> ===A. Panku Created the World===<br /> <br /> In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).<br /> <br /> At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 &quot;li&quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).<br /> Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.<br /> <br /> ===B. NuWa Created Human Beings===<br /> <br /> [[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]<br /> <br /> Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).<br /> <br /> As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.<br /> <br /> During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.<br /> <br /> ===C. Fushi Taught the People=== <br /> <br /> In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .<br /> <br /> Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &quot;trigrams&quot;, in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This &quot;trigrams&quot; was also a mean to interpret future and consult oracle about the right ways to follow.<br /> <br /> Finally, Fushi gave his last gift (music) in order people can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &quot;pipa&quot; (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history. Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. <br /> <br /> ===D. Water War===<br /> <br /> Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as a very big giants with different shapes, Gong shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).<br /> <br /> Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).<br /> <br /> In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.<br /> <br /> ===E. Terms and Expressions===<br /> <br /> Chinese Mythology 中国神话<br /> <br /> Panku 盤古<br /> <br /> Yin/Yang 陰陽 / 阴阳<br /> <br /> Nuwa 女媧<br /> <br /> Fushi 伏羲<br /> <br /> Water War 水战<br /> <br /> ===F. Questions===<br /> <br /> 1. Why an egg a good symbol for the beginning of the world?<br /> <br /> 2. Why Nuwa decided to create human beings?<br /> <br /> 3. What did Fushi taught to people?<br /> <br /> 4. What was the cause of Gong and Zurong’s war and who won?<br /> <br /> ===G. Answers===<br /> <br /> 1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.<br /> <br /> 2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.<br /> <br /> 3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.<br /> <br /> 4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.<br /> <br /> ===References===<br /> <br /> 1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.<br /> <br /> 2. Irene Dea Collier. (2001). &quot;Chinese Mythology&quot;. Library of Congress Cataloging-in-Publication Data.<br /> <br /> 3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg<br /> <br /> 4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)<br /> <br /> ==Gods and Immortals - Gui Yizhi 桂一枝==<br /> <br /> ===Chinese gods and immortals===<br /> <br /> ====Chinese mythology system====<br /> <br /> Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.<br /> <br /> Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.<br /> <br /> The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).<br /> <br /> Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &quot;Way&quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.<br /> <br /> At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &quot;most widely beloved Buddhist Divinity&quot; with miraculous powers to assist all those who pray to her.<br /> <br /> ====神 shén, 帝 dì and 仙 xiān====<br /> <br /> Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. dì, sometimes translated as &quot;thearch&quot;, implies a manifested or incarnate &quot;godly&quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.<br /> <br /> ====Eight immortals====<br /> <br /> The Eight Immortals are a group of legendary xian (&quot;immortals&quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &quot;Covert Eight Immortals&quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.<br /> <br /> The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism. <br /> <br /> The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &quot;The Eight Immortals cross the sea, each reveals its divine powers&quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.<br /> <br /> ===Terms and Expressions===<br /> <br /> immortals 仙 <br /> <br /> mythology 神话，神话学<br /> <br /> cosmology 宇宙论，宇宙观 <br /> <br /> monolithic 整体（式）的<br /> <br /> the Battle of Zhuolu 涿鹿之战<br /> <br /> pantheistic 泛神论的 <br /> <br /> polytheistic 多神论的<br /> <br /> Three Pure Ones 三清<br /> <br /> anthropomorphic 人格化的<br /> <br /> tutelary 守护神 <br /> <br /> deity 神<br /> <br /> Buddha 佛 <br /> <br /> Shakyamuni 释迦牟尼<br /> <br /> Amitabha 阿弥陀佛 <br /> <br /> Amitāyus 无量寿佛<br /> <br /> celestial 天的 <br /> <br /> Bodhisattva 菩萨 <br /> <br /> Pure Land 极乐世界 <br /> <br /> vessels 法器<br /> <br /> Covert Eight Immortals 暗八仙 <br /> <br /> Taoist 道家的，道士<br /> <br /> ===Questions===<br /> <br /> 1. What are the topics of the Ancient mythology?<br /> <br /> 2. What are the differences among shén, dì and xiān?<br /> <br /> 3. What do the Eight immortals represent respectively?<br /> <br /> ===Answers===<br /> 1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.<br /> <br /> 2. shén and dì corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> 3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.<br /> <br /> ===References===<br /> <br /> [1]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.pp11-12<br /> <br /> [2]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.pp.63-67 <br /> <br /> [3]柏杨．中国人史纲：时代文艺出版社，1987.pp. 34-40<br /> <br /> [4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear &amp; Company.pp.27-28 <br /> <br /> [5]Buddhism, the Fulfilment of Hinduism P37<br /> <br /> [6]胡亚楠. 从神到仙：先秦时期神仙信仰的形成因素研究[D].哈尔滨师范大学,2020.<br /> <br /> [7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.pp. 200-201<br /> <br /> [8]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [9]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [10]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago. pp. 313, 319–334.<br /> <br /> ==Literature, Tang and Song - Guo Lu 郭露 202070080588==<br /> <br /> ===Classical Prose Movement of late Tang Dynasty and Song Dynasty===<br /> <br /> ====Introduction====<br /> <br /> “The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its deep.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)<br /> <br /> ====Development====<br /> <br /> The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)<br /> <br /> However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)<br /> <br /> After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) <br /> <br /> ====Representatives====<br /> <br /> '''1.Han Yu'''<br /> <br /> Han Yu (768 – 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &quot;Eight Great Prose Masters of the Tang and Song&quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)<br /> <br /> Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)<br /> <br /> '''2.Liu Zongyuan'''<br /> <br /> Liu Zongyuan (773 – 819), courtesy name Zihou, also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese literature, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &quot;Jiangxue&quot;. (Yang Shengli 2020, 42-44)<br /> <br /> '''3.Ouyang Xiu'''<br /> <br /> Ouyang Xiu (1007 – 1072), courtesy name Yong Shu, also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)<br /> <br /> Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)<br /> <br /> Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)<br /> <br /> ====Masterworks====<br /> <br /> Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)<br /> <br /> ====Influence====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)<br /> <br /> ====Terms and Expressions====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家<br /> <br /> Classical Prose Movement 古文运动<br /> <br /> ''Eight Records of Excursions in Yongzhou'' 《永州八记》<br /> <br /> ''On Teachers'' 《师说》<br /> <br /> ''New Book of Tang'' 《新唐书》<br /> <br /> ''Historical Records of the Five Dynasties'' 《新五代史》<br /> <br /> ''Zuiweng Tingji'' 《醉翁亭记》<br /> <br /> ''Shang Zhongyong'' 《伤仲永》<br /> <br /> ''On Jia Yi'' 《贾谊论》<br /> <br /> ''First Ode to the Red Cliff'' 《赤壁赋》<br /> <br /> ====Questions====<br /> <br /> 1. Who were the first promoters of the Classical Prose Movement?<br /> <br /> 2. What does the Classical Prose Movement mean?<br /> <br /> 3. What's political and religious purposes of the Classical Prose Movement?<br /> <br /> ====Answers====<br /> <br /> 1. The first promoters of this movement were Han Yu and Liu Zongyuan.<br /> <br /> 2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.<br /> <br /> 3. The reason what Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.<br /> <br /> ====References====<br /> <br /> Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.<br /> <br /> Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.<br /> <br /> Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.<br /> <br /> Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.<br /> <br /> Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.<br /> <br /> Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.<br /> <br /> Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.<br /> <br /> ==The tradition of Red envelope and Lucky money - Ha, Thi Thu Hang - 201921080008==<br /> <br /> ===The Chinese Red Envelope and Lucky money tradition===<br /> <br /> In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.<br /> <br /> ====The Legend====<br /> <br /> In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> <br /> One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> There are also other legends about this custom related to the son Duong Quy Phi of the Tang dynasty - China and the Qin dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.<br /> <br /> ====The tradition====<br /> <br /> The Chinese custom of lucky money is called &quot;Hongbao&quot;. Chinese people really like red, so the lucky money is always red, symbolizing luck and happiness. The red envelope is called yasui qian (压岁钱 /Yāsuìqián/), which means &quot;suppressing ghosts money&quot;. Those who receive a red envelope are wished another safe and pea Sending red envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese lucky money must avoid the number 4 and be sealed. The children, after receiving the lucky money, do not open it immediately, but have to put it all under the pillow after about a week to open it, it is impolite to open a red envelope in front of the person who gives it to you. The meaning of this is for the lucky money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese lucky money.<br /> <br /> Red envelopes, also called red packets, lucky money, or &quot;hongbao&quot; in Chinese, &quot;li shi&quot; / &quot;li xi&quot; in Vietnamese are a popular monetary gift given on some important occasions or festivals in China, Vietnam, Korea, Japan, some other Asian countries, especially widely seen during the Chinese New Year (Spring Festival). During Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into.<br /> <br /> ====Outside of China====<br /> <br /> The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent.<br /> <br /> Each country has different ways of lucky money and changes over time, but the basic custom of lucky money is to want to send wishes of peace to all relatives and friends in the new year.<br /> In Vietnam, the Lunar New Year is one of the great holidays of the year. The traditional New Year's customs are still preserved, in which the lucky money is typical. On the first day of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give lucky money to the children with the message of good luck, good care and good study. Today, the tradition of lucky money in Vietnam is also expanded in the direction that children give lucky money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.<br /> <br /> In Japan, lucky money is called Otoshidama. Unlike other countries, the amount of Japanese lucky money depends on the child's age, the relationship of the family. Otoshidama red envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese red envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the lucky money will be written on the red envelope to show respect for the recipient. The message of each Otoshidama red envelopes is a wish for a warm, peaceful and lucky new year.<br /> <br /> In Korea, the lucky money is called Sabae. On New Year's Day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive lucky money together with wishes for health and peace in the new year. The lucky money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems...<br /> <br /> ===Terms and Expressions===<br /> Luckymoney 利市 /Lì shì/ <br /> <br /> Red envelope 紅包 /Hóngbāo/ <br /> <br /> Confucianism 儒教 /Rújiào/ <br /> <br /> Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/<br /> <br /> ===Questions===<br /> <br /> 1. Do you know the origin of giving Lunar new year lucky money to children？<br /> <br /> ===Answers===<br /> <br /> 1. In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> ===References===<br /> https://en.wikipedia.org/wiki/Red_envelope [https://en.wikipedia.org/wiki/Red_envelope]<br /> <br /> ==Calendar, The 24 Solar Terms - He Changqi 何长琦==<br /> ==='''The Twenty-four Solar Terms'''===<br /> <br /> ===1. The orgin and development of the twenty-four solar terms===<br /> <br /> “The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）<br /> <br /> ===2. The definition and classification of the twenty-four solar terms===<br /> <br /> “The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. <br /> A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate. The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.<br /> (Yuan Jixi 2016:)<br /> <br /> ===3.Folklore of the 24 solar terms===<br /> <br /> The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the &quot;whipping of the spring bull&quot; at the beginning of spring and the &quot;tailing festival&quot; at the end of the cold season. Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &quot;the unity of heaven and man, in accordance with the four seasons&quot;, the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. <br /> <br /> These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &quot;biting the spring&quot; on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)<br /> <br /> ===4.Importance and values===<br /> <br /> ===4.1 Importance in ancient times===<br /> <br /> The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. The 24 solar terms have played an important role in the life and work of traditional Chinese people.<br /> Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that &quot;if the agricultural time is not violated, there will be sufficient grain supply.&quot; (Mencius - Liang Huiwang). Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives. For example, the &quot;Four Beginnings&quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)<br /> <br /> ===4.2 Values in modern society===<br /> <br /> In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation. It still has its practical values in modern society.<br /> Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture. Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature. Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)<br /> <br /> ===Terms and Expressions===<br /> <br /> the Beginning of Spring 立春<br /> <br /> Beginning of Autumn 立秋<br /> <br /> Rain Water 雨水 <br /> <br /> End of Heat 处暑<br /> <br /> Insects Awakening 惊蛰 <br /> <br /> White Dew 白露<br /> <br /> Spring Equinox 春分 <br /> <br /> Autumnal Equinox 秋分<br /> <br /> Fresh Green 清明 <br /> <br /> Cold Dew 寒露<br /> <br /> Grain Rain 谷雨 <br /> <br /> First Frost 霜降 <br /> <br /> Beginning of Summer 立夏 <br /> <br /> Beginning of Winter 立冬<br /> <br /> Lesser Fullness 小满 <br /> <br /> Light Snow 小雪<br /> <br /> Grain in Ear 芒种 <br /> <br /> Heavy Snow 大雪<br /> <br /> Summer Solstice 夏至<br /> <br /> Winter Solstice 冬至<br /> <br /> Lesser Heat 大暑<br /> <br /> Lesser Cold 小寒<br /> <br /> Greater Heat 立春 <br /> <br /> Greater Cold 大寒<br /> <br /> ===Questions===<br /> 1.1.What are the first four solar terms measured by ancient Chinese people?<br /> <br /> 2.Where does the 24 solar terms originate from?<br /> <br /> 3. What are the eight solar terms that reflect seasonal changes？<br /> <br /> 4.When was included in the World Intangible Cultural Heritage List? <br /> <br /> 5.What are the food customs in the Beginning of Spring?<br /> <br /> 6.Do you konw any other folklore of the 24 solar terms?<br /> ===Answers===<br /> 1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.<br /> <br /> 2.It originated in the Yellow River valley.<br /> <br /> 3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice<br /> <br /> 4.In 2016.<br /> <br /> 5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.<br /> <br /> 6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the &quot;Sage of Medicine&quot;, invented the &quot;jiaozi&quot; to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as &quot;dumpling&quot; or jiaozi. Today there is still a saying that goes &quot;Eat dumplings on Start of Winter Day, or your ears will be frostbitten.&quot;<br /> <br /> ===References===<br /> Yuan Jix. 袁济喜. (2016). &quot;中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)<br /> <br /> Wang Jiahua. 王加华.（2019.9.20）&quot;China Social Science Network&quot; http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml<br /> <br /> Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）&quot;Chinanews&quot; http://www.chinanews.com/cul/2020/11-17/9340057.shtml <br /> <br /> He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html<br /> <br /> ==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==<br /> <br /> ===Collection of Yue Fu Poetry《乐府诗集》===<br /> <br /> ====Introduction====<br /> <br /> '''1.Brief introduction'''<br /> <br /> ''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. &quot;Yuefu&quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)<br /> <br /> '''2.About the author'''<br /> <br /> Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation.(Wu Ting 2007, 22)<br /> <br /> '''3.Content introduction'''<br /> <br /> It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &quot;Yuefu Poetry Collection&quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties.(Wu Ting 2007, 30)<br /> <br /> ====Masterpieces====<br /> <br /> '''1.''The Peacock Flies to Southeast'''''<br /> <br /> ''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit.As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed.(Wu Ting 2007, 36)<br /> <br /> '''2.''Mulan Poetry'''''<br /> <br /> ''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &quot;Mulan is a girl&quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)<br /> <br /> ====Evaluation====<br /> <br /> '''1.Contributions'''<br /> <br /> The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &quot;Moshangsang&quot;, &quot;dongmenxing&quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. Yuefu Poetry Collection introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)<br /> <br /> '''2.Shortcomings'''<br /> <br /> There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)<br /> <br /> ===References===<br /> Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)<br /> <br /> Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Collection of Yue Fu Poetry''《乐府诗集》<br /> <br /> Jiaomiao songs郊庙歌辞<br /> <br /> Yanshe songs燕射歌辞<br /> <br /> Guchui drum songs鼓吹曲辞<br /> <br /> Hengchui songs横吹曲辞<br /> <br /> Xianghe songs相和歌辞<br /> <br /> ''The Peacock Flies to Southeast'' 《孔雀东南飞》<br /> <br /> ''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)<br /> <br /> ===Questions===<br /> <br /> 1.When was Yuefu Poetry compiled？<br /> <br /> 2.Which institution did &quot;Yuefu&quot; belong to?<br /> <br /> 3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.In Song Dynasty.<br /> <br /> 2.It belongs to the institution in charge of music.<br /> <br /> 3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)<br /> <br /> ==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==<br /> <br /> ===Eight Major Cuisines of China===<br /> <br /> ====1. A Brief Introduction About Chinese Cuisine====<br /> As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &quot;four major cuisines.&quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &quot;eight major cuisines&quot; of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)<br /> <br /> ====2. The Classification of Chinese Cuisines====<br /> <br /> China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)<br /> <br /> =====2.1 Shandong Cuisine=====<br /> Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)<br /> =====2.2 Sichuan Cuisine=====<br /> Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one <br /> of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)<br /> =====2.3 Guangdong Cuisine=====<br /> Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)<br /> =====2.4 Fujian Cuisine=====<br /> Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &quot;pickled taste&quot;. (Shi Hongmei 2009, 55)<br /> =====2.5 Jiangsu Cuisine=====<br /> Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)<br /> =====2.6 Zhejiang Cuisine=====<br /> Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)<br /> =====2.7 Hunan Cuisine=====<br /> Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)<br /> =====2.8 Anhui Cuisine=====<br /> Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)<br /> <br /> ====3. A Comparison of Chinese-Western Diet Culture====<br /> <br /> Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)<br /> <br /> Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods.(Caihua 2009, 57)<br /> <br /> ====References====<br /> <br /> Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.<br /> <br /> Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.<br /> <br /> Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.<br /> <br /> Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．<br /> <br /> Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.<br /> <br /> ===Terms and Expressions===<br /> <br /> pot-stewed fowl 卤味<br /> <br /> stewing and simmering 炖，煨<br /> <br /> prickly ash 花椒<br /> <br /> fermented soybean 豆鼓<br /> <br /> Braised Dongpo Pork 东坡肉<br /> <br /> Buddha Jumps over the Wall 佛跳墙<br /> <br /> Kung Pao Chicken 宫保鸡丁<br /> <br /> Bean Sauce Tofu 麻婆豆腐<br /> <br /> ===Questions===<br /> 1. How many types of cuisines are there in china?<br /> <br /> 2. What’s differences between Chinese and western diets?<br /> <br /> 3. What is the origin of Dongpo Meat?<br /> <br /> ===Answers===<br /> 1. Eight<br /> <br /> 2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. <br /> <br /> 3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.<br /> <br /> ==Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting==<br /> <br /> Chinese Paper Cutting 剪纸<br /> <br /> ===Text===<br /> ===Introduction===<br /> The art of paper cutting in China may date back to the second century CE, since paper was invented by Cai Lunin the Eastern Han Dynasty in China. As paper became more affordable, paper-cutting became one of the most important types of Chinese folk art. Later, this art form spread to other parts of the world, with different regions adopting their own cultural styles. Because the cut-outs are often used to decorate doors and windows, they are sometimes referred to as chuanghua, window flowers or window paper-cuts. People glued the papercuts to the exterior of windows, so the light from the inside would shine through the negative space of the cutout.[1] Usually, the artworks are made of red paper, as red is associated with festivities and happiness in Chinese culture, but other colours were also used. Normally paper-cutting artwork is used on festivals like Spring Festival weddings and childbirth. Paper-cuting always symbolizes luck and happiness.<br /> <br /> ===History===<br /> The paper was invented in the Western Han Dynasty (6th century BC), before which there was no paper-cut art. However, at that time, people used thin-film materials to make handicrafts by hollowing out carving techniques, which had been popular since before paper appeared, that is, carving, carving, carving and cutting techniques were used to carve patterns on gold foil, leather, silk and even on leaves. In the historical records, the brother of the cutting Tung Tong describes the Zhou Dynasty king of the Western Zhou Dynasty who cut his &quot;Guiyu&quot; to his brother by using Wutong leaves and Feng Ji Yu to Tang as Hou. During the Warring States period, leather engraving (one of the cultural relics unearthed from No.1 Chu tomb in jianglingwangshan, Hubei Province) and silver foil hollowed out and engraved patterns (one of the cultural relics unearthed from the Warring States site in Guwei village, Huixian County, Henan Province) were used in the Warring States period. Their appearance laid a certain foundation for the formation of folk paper-cut. In the southern and Northern Dynasties, &quot;Mulan Ci&quot; has the poem &quot;yellow to the mirror&quot;. The earliest paper-cut work in China was found in the Northern Dynasty period (386-581 A.D.) unearthed near the Flame Mountain in Turpan, Xinjiang. These paper-cut, the use of repeated folding and image processing techniques.<br /> <br /> In the Ming and Qing Dynasties, the paper-cut handicraft became mature and reached its peak. Folk paper-cut handicrafts are more widely used, such as flower decorations on folk lanterns, patterns on fans, and embroidery patterns, etc., all of which are decorated with paper-cut for reprocessing [9]. What's more, Chinese people often use paper-cut as decoration to beautify the home environment. For example, door stacks, window decorations, cabinet flowers, flower lovers and ceiling flowers are used to decorate doors, windows and rooms.<br /> <br /> At the beginning of the 20th century, the &quot;May 4th&quot; New Culture Movement established the rudiment of Chinese folklore under the advocacy of advanced intellectuals Cai Yuanpei, Lu Xun, Liu Bannong and Zhou Zuoren. They widely collect folk literature materials, but also strive to collect folk art works, including folk paper-cut. In the 1930s, artist Chen Zhinong began the research and creation of folk paper-cut in Beijing. He used sketches and silhouettes to depict a large number of customs and customs in old Beijing, such as street vendors, workshop craftsmen, food stalls and tea picking, markets, temple fairs, and market idlers.<br /> <br /> ===Five Regions===<br /> <br /> <br /> ===Techniques===<br /> ===References===<br /> <br /> ===Terms and Expressions===<br /> <br /> ===Questions===<br /> <br /> ===Answers===<br /> <br /> ==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==<br /> <br /> ===The Chinese Medical Sage - Zhang Zhongjing===<br /> <br /> Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)<br /> <br /> Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)<br /> <br /> This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)<br /> <br /> Later, people called the doctor who sat in the drugstore to treat patients &quot;the doctor sitting in the hall&quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)<br /> <br /> When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)<br /> <br /> There is a Chinese saying that goes, &quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)<br /> <br /> When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)<br /> <br /> Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &quot; Cold Dispelling Jiaoer Soup&quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)<br /> <br /> Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &quot;Cold Dispelling Jiaoer Soup&quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &quot;Cold Dispelling Jiaoer Soup&quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)<br /> <br /> In fact, the way of making &quot;Cold Dispelling Jiaoer Soup&quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &quot;Jiao Er&quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&quot; (首都医药 2003, 40)<br /> <br /> At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)<br /> <br /> <br /> [[File:Zhang_Zhongjing.jpg]]<br /> <br /> ===References===<br /> <br /> 2003(17). 张仲景故乡的二十四个故事(六) 饺子的来历[J]. 首都医药.<br /> <br /> Zhang Maoyun 张茂云. 2014(04). 伤寒杂病论成书年代及仲景生平年代考历[J]. 中国中医药现代远程教育.<br /> <br /> Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. 2013(07). “医圣”张仲景[J]. 中国卫生人才.<br /> <br /> Zhang Deli 张德礼. 2019(05). 心系百姓的“医圣”张仲景[J]. 现代班组.<br /> <br /> Tan Rongzhou 覃荣周. 2013(07). 张仲景对我国医学发展的历史贡献[J]. 兰台世界.<br /> <br /> Zhao Qingxin 赵清新. 1999(05). 万世医宗张仲景[J]. 解放军健康.<br /> <br /> 2020(03). 张仲景:“医圣”之名传天下[J]. 天一. 月读.<br /> <br /> ===Terms and Expressions===<br /> <br /> medical sage 医圣<br /> <br /> Treatise on Febrile and Miscellaneous Diseases《伤寒杂病论》<br /> <br /> treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治<br /> <br /> yamen 衙门<br /> <br /> Great Cold ( 24th solar term ) 大寒<br /> <br /> Slight Cold ( 23rd solar term ) 小寒<br /> <br /> look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切<br /> <br /> Cold Dispelling Jiaoer Soup 祛寒娇耳汤<br /> <br /> ===Questions===<br /> <br /> 1. What's the honorable title Zhang Zhongjing addressed as?<br /> <br /> 2. What's the official role Zhang once taken?<br /> <br /> 3. When would Zhang treat patients for free at yamen?<br /> <br /> 4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?<br /> <br /> 5. What's the relationship between Zhang Zhongjing and dumplings?<br /> <br /> ===Answers===<br /> <br /> 1. Chinese Medical Sage.<br /> <br /> 2. Changsha magistrate.<br /> <br /> 3. He treated patients for free on the first and fifteenth days of every lunar month.<br /> <br /> 4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.<br /> <br /> 5. Dumplings are derived from the recipe &quot; Cold Dispelling Jiaoer Soup&quot; developed by Zhang Zhongjing.<br /> <br /> --[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)<br /> <br /> ==Architecture, Qingming Riverside Landscape Garden-Zeng Liang 曾良 （major）202070080578==<br /> <br /> ===Introduction===<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, and covering an area of more than 600 acres, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the Northern Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park covering an area of more than 600 acresand showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the earlier Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and also, the first batch of 5A-level tourist attractions and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)(文件无效)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng as the capital of the Northern Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, People can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng, the capital of the earlier Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, people can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> There are eight functional zones including posthouse, folk custom, characteristic food street, demonstration of culture in Song Dynasty, flower, bird, fish, bug, prosperous capital, leisure and shopping, and integrated service, and four cultural zones including military drill ground, Rainbow Bridge, folk custom, and capital of Song Dynasty. The main architechtures of the garden include gate building, rainbow bridge, street view, stores, river channels, wharfs and ships. According to the original layout of ''Riverside Scene at Qingming Festival'', the garden presents the fabrications on site such as wine shops, teahouses, pawnshops, Bian (today’s Kaifeng) embroideries, official porcelains, and New Year paintings, gathers folk performance, vaudeville, and drum performance. (Gao Jing 2010,18)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050, and it was reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The Fuyun Pavillion is 31.99 meters high and it is the tallest building in the garden. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050 and reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The tallest building in the garden, the Fuyun Pavillion is 31.99 meters high. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> Every year, Qingming Riverside Landscape Garden will hold a series of cultural festivals, such as folk cultural festival of Song Dynasty, Qingming cultural festival, and chrysanthemum cultural festival. During the folk cultural festival of Song Dynasty, the scenic spot will gather unique folk performances across the country, such as flower-drum on the high platform, stilt, dragon dance, lion dance, small Henan opera. The international lantern exhibition is the highlight of folk cultural festival of Song Dynasty. A visual feast will be brought by auspicious tradition of Chinese Pavilion, the fresheness and refineness of Asian Pavilion, simplicity and fashion of European Pavilion, the quaint Buddhism of the Southeast Asia Pavilion, and the luxurious atmosphere of the African Pavillion. During the Qingming Festival, the garden will hold some Qingming cultural festivals to promote traditional festival culture. At that time, vistors can have an outing in spring, plant willion trees, watch folk customs, taste snacks, and enjoy the large-scale water live performances called ''“Luxuriant Dream of the East Capital of the Great Song Dynasty”.'' This event combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. Chrysanthemum cultural festival is another grand festivl in the garden, during which all kinds of chrysanthemums will be presented.The annual chrysanthemum festival in Kaifeng is held from October to November. Qingming Riverside Landscape Garden focuses on beautiful chrysanthemum plants, and makes full of architectures, sculptures, mountains, the surface of the water and association of activity and inertia to highlight the cultivated and creative skills of Kaifeng people. Chrysanthemums are changed into various shapes, which attracted thousands of visitors from all over the world. In the exhibition, visitors can enjoy and appreciate some species of chrysanthemum that are rarely seen in our daily life. (Zhang Lu 2013,24)<br /> <br /> There are vaious performances presented in the Qingming Riverside Landscape Garden, such as ''Luxuriant Dream of the East Capital of the Great Song Dynasty'', ''Baogong Salute to Guests'', ''Spitting Fire Show'', '''Cockfight''', ''Women’s Polo'' and so on. Among these formances, ''Luxuriant Dream of the East Capital of the Great Song Dynasty'' is a representative show of the garden. It is a large-scale live water performance produced by Qingming Riverside Landscape Garden. The performance is lasted for 70 minutes and is performed by more than 700 actors. It is a scroll about the heyday of the Northern Song Dynasty. The bustling scene of the Song Dynasty market, the prosperity of the capital of Bianliang(today’s Kaifeng), the mighty momentum of luxurious neighboring countries, the tragedy of wars, and the sustenance of blessings constitute a wash painting with a combination of noise and tranquility.(Gao Jing 2010,16)<br /> <br /> Ancient Chinese architectures and western architectures are different. The ancient architectures of China can be divided into palace architecure, religious architecture, mansion architecture and public architecture, which can be seen in the Qingming Riverside Landscape Garden. Compared with the Gothic architecture during the Middles Ages of the western Europe, the architecture of Song Dynasty shows a delicate and soft style, with complex forms of palaces, terraces, towers and pavilions, while Gothic archetecture is magnificent and exquisite. It has pointed vaults, which give people a visual impact and have a strong religious color.(Pang Runxin 2019,10)<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Qingming Riverside Landscape Garden'' 清明上河园<br /> <br /> ''Riverside Scene at Qingming Festival''《清明上河图》<br /> <br /> Rainbow Bridge虹桥<br /> <br /> Fuyun Pavillion浮云阁<br /> <br /> Shangshan Gate 上善门<br /> <br /> chrysanthemum菊花<br /> <br /> ''Baogong Salute to Guests''包公迎宾<br /> <br /> ''Spitting Fire Show''气功喷火<br /> <br /> ''Cockfight''斗鸡<br /> <br /> ''Women’s Polo''女子马球<br /> <br /> ''Luxuriant Dream of the East Capital of the Great Song Dynasty''《大宋·东京梦华》<br /> <br /> ===Questions===<br /> <br /> 1.What is the location of ''Qingming Riverside Landscape Garden''?<br /> <br /> 2.What’s the role of ''Qingming Riverside Landscape Garden'' in China?<br /> <br /> 3.When was ''Qingming Riverside Landscape Garden'' opened to the public?<br /> <br /> 4.Who is the painter of ''Piverside Scene at Qingming Festival''?<br /> <br /> 5.Which dynasty of the painting ''Qingming Riverside Landscape Garden'' present?<br /> <br /> 6.What does the name of ''Fuyun Pavilion'' mean?<br /> <br /> 7.What’s the characteristics of the performance of ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> 8.Can you please list some kinds of performance of ''Qingming Riverside Landscape Garden'' besides ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> ===Answers===<br /> <br /> 1.It is located on the west bank of ''Dragon Pavilion'' in Kaifeng, Henan Province.<br /> <br /> 2.In 2009, ''Qingming Riverside Landscape Garden'' was chosed as China’s first theme park in the style of the ancients by ''China World Records Association''. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s ''intangible cultural heritage exhibition base''. <br /> <br /> 3.It was officially opened to the public on October 28, 1998.<br /> <br /> 4.Zhang Zeduan.<br /> <br /> 5.Northern Song Dynasty.<br /> <br /> 6.The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map.<br /> <br /> 7.It combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. <br /> <br /> 8.''Baogong Salute to Guests'', ''Spitting Fire Show'', ''Cockfight'', ''Women’s Polo''.<br /> <br /> ===References===<br /> <br /> Chen Kang 陈康.(2006).《清明上河园》的精彩场景——贯木拱虹桥[Excellent Scenes of Qingming Riverside Landscape Garden——Wooden Arch Rainbow Bridge].集邮博览Philatelic Panorama(07)62-63.<br /> <br /> Gao Jing高静.(2010). 清明上河园——玩转宋文化[Qingming Riverside Landscape Garden—Fully Experience the Culture of Song Dyansty].光彩Brilliance(04)16-19.<br /> <br /> Li Mei李梅.(2007).清明上河园特色建设与长远发展[Distinctive Architecture of Qingming Riverside Landscape Garden nd its Long Development].合作经济与科技Co-operative Economyand Science(8)10-12.<br /> <br /> Pang Runxin庞润昕.(2019).《清明上河图》的建筑艺术[Architectural Art in Paintings of Riverside Scene Qingming Festival].景德镇陶瓷大学Jingdezheng Ceramic Institute(06)10-16.<br /> <br /> Wei Tuo韦陀.(2006).张择端之《清明上河图》[Riverside Scene at Qingming Festival Painted by Zhang Zeduan].紫禁城Forbidden City（Z2)13-15.<br /> <br /> Zhang Lu张璐.(2013).清明上河园与宋都文化传承创新研究[Inheritance and Innovation Research Study of “Qingming River” Song Dynasty Theme Park].赤峰学院学报Chi Feng College Journal(05)23-27.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:06, 12 December 2020 (UTC) (标点符号之间需要空格）--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_1&diff=112959 2020-12-16T06:46:36Z

<p>Sagara Seydou 3: /* Spring Festival Couplets - Cao Runxin 曹润鑫 */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Astrology - Alsied, Saffana==<br /> &quot;Chinese Astrology&quot;--[[User:SAFFANA ALSIED ,Student No:......... Major...........<br /> <br /> ===The History===<br /> <br /> So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the source is coming from ?<br /> <br /> ===The Five Elements And YIN/YANG===<br /> <br /> Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation please?<br /> <br /> A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?<br /> <br /> ===THE FORCES OF YIN / YANG===<br /> <br /> Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.<br /> <br /> A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?<br /> <br /> Chinese astrology was invented to achieve the two following goals;<br /> <br /> 1.) To predict the future,<br /> <br /> 2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise. <br /> <br /> According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?<br /> <br /> Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?<br /> <br /> The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?<br /> <br /> You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Chinese Astrology 中国占星学<br /> <br /> 2. Chinese Zodiac 中国十二生肖<br /> <br /> 3. Agricultural calendar 农业日历<br /> <br /> 4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）<br /> <br /> 5. The Oriental philosophy 东方哲学<br /> <br /> ===Questions===<br /> <br /> 1-Why was Chinese astrology invented?<br /> <br /> 2-How Chinese astrology relates to a person’s divine destiny?<br /> <br /> 3-What important role does the Chinese zodiac play in Chinese culture?<br /> <br /> 4- What is Chinese astrology based on?<br /> <br /> 5-Is Chinese astrology accurate?<br /> <br /> ===Answers===<br /> 1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.<br /> <br /> 2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.<br /> <br /> 3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.<br /> <br /> 4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.<br /> <br /> 5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> ===References===<br /> <br /> Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9<br /> <br /> 何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591<br /> <br /> Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.<br /> <br /> Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.<br /> <br /> &quot;&quot;Almanac&quot; &quot;lunar&quot; zodiac beginning of spring as the boundary dislocation? — China Network&quot;. 16 February 2009. Retrieved 5 January 2011.<br /> <br /> Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.<br /> <br /> &quot;Five Elements(Wu Xing)&quot;. YourChineseAstrology.com<br /> <br /> ==Spring Festival Couplets - Cao Runxin 曹 . Student No: ...........Major.............Please ?<br /> [[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]<br /> <br /> ===Spring Festival Couplets===<br /> Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).<br /> <br /> Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).<br /> <br /> The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).<br /> <br /> There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).<br /> <br /> ===References===<br /> <br /> *Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.<br /> *Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.<br /> *Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.<br /> *Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.<br /> <br /> <br /> ===Terms and Expressions ===<br /> Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 <br /> <br /> Paste 贴<br /> <br /> Horizontal scroll 横联<br /> <br /> Upper scroll 上联<br /> <br /> Lower scroll 下联<br /> <br /> ===Questions ===<br /> 1.What’s the purpose of pasting Spring Festival Couplets?<br /> <br /> To expresses people’s delight in the festival and wishes for a better life in the coming year.<br /> <br /> 2.What’s the historical origin of Spring Festival Couplets?<br /> <br /> It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.<br /> <br /> 3.How to read the Spring Festival Couplets?<br /> <br /> First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. <br /> <br /> 4.How to do with the Old Couplets?<br /> <br /> Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.<br /> <br /> ==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - Translation 英语笔译==<br /> <br /> [[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]<br /> <br /> ===Guzheng===<br /> <br /> ''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.<br /> <br /> There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).<br /> <br /> The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)<br /> <br /> [[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=古筝&amp;step_word=&amp;hs=0&amp;pn=27&amp;spn=0&amp;di=9900&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3246661627%2C3658564396&amp;os=3335747328%2C3552694810&amp;simid=0%2C0&amp;adpicid=0&amp;lpn=0&amp;ln=1718&amp;fr=&amp;fmq=1607348039297_R&amp;fm=result&amp;ic=&amp;s=undefined&amp;hd=&amp;latest=&amp;copyright=&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;gsm=1c&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]for original source.]]<br /> <br /> The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)<br /> <br /> Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several other schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)<br /> <br /> In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang played the ''guzheng'' to merge the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)<br /> <br /> From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.<br /> <br /> ===References===<br /> <br /> *Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.<br /> *Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.<br /> *Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. <br /> *Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.<br /> *Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.<br /> *Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.<br /> *Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.<br /> <br /> ===Terms and Expressions===<br /> <br /> *Meng Tian 蒙恬 <br /> *Zhao Lin 赵璘<br /> *''Records on Words'' 《因话录》<br /> *anterior mountain 前岳山 <br /> *posterior mountain 后岳山<br /> *''Yan Zhu'' 雁柱 <br /> *string pegs 弦钉<br /> *turning box 调音盒 <br /> *zither feet 琴足<br /> *paulownia 桐木 <br /> *mahogany 红木<br /> *''Dai Mao'' 玳瑁<br /> *''Yi Jia'' 义甲<br /> *''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹<br /> *''High Mountains and Running Water'' 《高山流水》<br /> *''The Autumn Moon in the Han Palace'' 《汉宫秋月》<br /> *''Jackdaw Playing in the Water'' 《寒鸦戏水》<br /> *''The Tune of Liu Qing Niang'' 《柳青娘》<br /> *Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香<br /> *Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望<br /> *''National Music Ceremony'' 《国乐大典》<br /> <br /> ===Questions===<br /> <br /> 1. What kind of musical instrument does the ''guzheng'' belong to?<br /> <br /> 2. Why the ''guzheng'' is deeply loved by Chinese? <br /> <br /> 3. Who is Meng Tian? <br /> <br /> 4. According to the legend, how did the ''se'' develop into the ''zheng''?<br /> <br /> 5. How many strings does the ''guzheng'' have? How long is the guzheng?<br /> <br /> 6. What is the function of movable bridges?<br /> <br /> 7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? <br /> <br /> 8. In ancient times, what materials were the fingerpicks made of?<br /> <br /> 9. Generally speaking, how does the players strike notes? <br /> <br /> 10. What styles can ''guzheng'' be divided into?<br /> <br /> 11. Which school does ''The Autumn Moon in the Han Palace'' belong to? <br /> <br /> 12. Do you know any other ''guzheng'' music? Please list some pieces.<br /> <br /> ===Answers===<br /> <br /> 1. It belongs to plucked stringed instruments.<br /> <br /> 2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. <br /> <br /> 3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.<br /> <br /> 4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. <br /> <br /> 5. It usually has 21 strings and is 163 centimeters long. <br /> <br /> 6. They are moved to change the timbres.<br /> <br /> 7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.<br /> <br /> 8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.<br /> <br /> 9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. <br /> <br /> 10. The Northern school and the Southern school.<br /> <br /> 11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.<br /> <br /> 12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).<br /> <br /> ==Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581==<br /> ===Facial makeup===<br /> <br /> Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)<br /> <br /> People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)<br /> <br /> The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)<br /> <br /> Red<br /> <br /> Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.<br /> <br /> Black<br /> <br /> Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.<br /> <br /> White<br /> <br /> White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.<br /> <br /> Blue<br /> <br /> Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.<br /> <br /> Purple<br /> <br /> Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.<br /> <br /> Golden<br /> <br /> Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).<br /> <br /> The features of facial makeup are mainly as follows:<br /> First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.<br /> It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.(Cao Juan, 2019, 61)<br /> <br /> ===B. Terms and Expressions===<br /> <br /> painted face 花脸<br /> <br /> clown 丑角<br /> <br /> Sheng 生<br /> <br /> Dan 旦<br /> <br /> Jing 净<br /> <br /> Chou 丑<br /> <br /> Qingyi 青衣<br /> <br /> xiaosheng 小生<br /> <br /> laosheng 老生<br /> <br /> wusheng 武生<br /> <br /> Gao Changgong 高长恭<br /> <br /> legend，romance 传奇剧<br /> <br /> Erlang Shen, Erlang 二郎神<br /> <br /> Tathagata, Buddha 如来佛<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Water Margin of the Marsh 水浒传<br /> <br /> ===C. Questions===<br /> <br /> 1.How many types are character roles divided into in Beijing opera?<br /> <br /> 2.What are the differences bbetween Sheng and Dan?<br /> <br /> 3.What are the special features of Chou?<br /> <br /> 4.What is the function of facial mask in Beijing opera?<br /> <br /> 5.What are the main features of facial makeup?<br /> <br /> 6.What are the characteristics of characters wearing blue facial makeup?<br /> ===Answers===<br /> 1.Four types:Sheng, Dan, Jing and Chou.<br /> <br /> 2.Sheng refers to male roles while Dan refers to female roles.<br /> <br /> 3.A patch of white powder is wiped on their nose.<br /> <br /> 4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. <br /> <br /> 5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.<br /> <br /> 6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly<br /> <br /> ===References===<br /> <br /> He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.<br /> <br /> Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.<br /> <br /> Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.<br /> <br /> ==Literature, Science Fiction and Fantasy - Dashkin, Gennadii - Student No.201911080001==<br /> === Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===<br /> <br /> <br /> Nowadays, modern literature is one of most interesting and gorgeous side of the worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that modern generation in the whole world prefer to read something about the future. Something, that can help to understand of what will be next. And that is why, one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broads our mind horizons.<br /> <br /> ====1.Liu Cixin（刘慈欣）====<br /> <br /> <br /> Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976).(Alexandra Alter,How Chinese Sci-Fi Conquered America 2019, 1)<br /> <br /> Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. <br /> <br /> Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written and naive and decided that he did not deserve publication.However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &quot;Supernova Era&quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence.(Liu Cixin, Supernova Era 2019,352)<br /> <br /> Liu's first books were warmly received in China, but nevertheless real success came to the author only in 2006, when he published the first part of his trilogy &quot;Memory of the Earth's Past&quot; - the novel &quot;The Problem of Three Bodies&quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &quot;The Three-Body Problem,&quot; although this is not formally true.<br /> <br /> In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.<br /> <br /> Liu Cixin is definitely a unique writer, with his own style, philosophy and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics, but also to science fiction literature.<br /> <br /> ====2.Chen Qiufan (陈楸帆） ====<br /> <br /> <br /> Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.<br /> <br /> Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.<br /> <br /> His debut book was ''The Empty Wave'', &quot;combining realism and allegory to represent the hybridity of humans and machines.&quot; Chen Qiufan's novels and stories won three Galaxy Awards, and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish and Russian.<br /> <br /> His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of the humanity progress.<br /> <br /> ====3.Rebecca F. Kuang (匡蘦秀)====<br /> <br /> <br /> When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.<br /> <br /> Quang grew up in Dallas, Texas and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.<br /> <br /> Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.<br /> <br /> Her debut novel, The Opium War, is a war fantasy set inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological and philosophical realities of China of the chosen era.<br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Science fiction - 科幻<br /> <br /> 2. Fantasy - 奇幻<br /> <br /> 3. Horizon - 地平线<br /> <br /> 4. Broad - 拓宽<br /> <br /> 5. Hybrid - 杂种<br /> <br /> 6. The plot - 情节<br /> <br /> 7. Garbage - 垃圾堆<br /> <br /> 8. Heyday - 壮年<br /> <br /> 9. Supernova - 超新星<br /> <br /> ===Questions===<br /> <br /> 1. What was the first book written by Liu Cixin?<br /> <br /> 2. What is the most popular trilogy of books written by Liu Cixin?<br /> <br /> 3. Who is called as Chinese William Gibson?<br /> <br /> 4. What is Rebecca Quang's Opium War plot based on?<br /> <br /> ===Answers===<br /> <br /> 1. Supernova Era<br /> <br /> 2. Memory of the Earth's Past<br /> <br /> 3. Chen Qiufan (陈楸帆）<br /> <br /> 4. The plot is largely based on the history of China in the middle of the 20th century.<br /> <br /> ===References===<br /> <br /> 1. Alexandra Alter,How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html<br /> <br /> 2. Liu Cixin, Supernova Era, 2019. 352 pp.<br /> <br /> 3. Chen Qiufan, Waste Tide, 2019. 342 pp.<br /> <br /> 4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.<br /> <br /> ==Stilts - Chen Yongxiang 陈永相 英语笔译 202070080582==<br /> [[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;fm=26&amp;gp=0.jpg] for original source.]]<br /> <br /> ===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===<br /> <br /> &lt;center&gt;Chen Yongxiang 陈永相 英语笔译 202070080582&lt;/center&gt;<br /> <br /> ====Introduction====<br /> <br /> Stilt is one of the folk dances of the Han nationality in our country, which is called &quot;Stilt Yangko&quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.<br /> <br /> As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &quot;Tongle Gaojiaohui&quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.<br /> <br /> The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who hold the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.<br /> <br /> Miliangtun Village Stilts as a renowned fair, known as the features of risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.<br /> <br /> There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilts is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.<br /> <br /> ====Terms and Expressions====<br /> <br /> Miliangtun (village name) 米粮屯<br /> <br /> stilts 高跷<br /> <br /> intangible cultural heritage 非物质文化遗产<br /> <br /> folk dance 民间舞蹈<br /> <br /> Toutou 陀头<br /> <br /> Laozuozi 老坐子 <br /> <br /> young boy 小二哥<br /> <br /> young master 公子<br /> <br /> Mr.Plaster 药先生<br /> <br /> Choupo 丑婆<br /> <br /> fisherman渔翁<br /> <br /> Yupo 渔婆 <br /> <br /> wood-cutter 柴翁<br /> <br /> handsome and ugly drum-players 俊鼓和丑鼓<br /> <br /> handsome and ugly gong-players 俊锣和丑锣<br /> <br /> ====Questions====<br /> <br /> 1. Where does Miliangtun Village Stilts originate?<br /> <br /> 2. How many years of history does Miliangtun Village Stilts have?<br /> <br /> 3. How many roles in Miliangtun Village Stilts?<br /> <br /> 4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?<br /> <br /> 5. How long is the shortest and the longest stilts?<br /> <br /> ====Answers====<br /> <br /> 1. Wangzuo Town, Fengtai District, Beijing.<br /> <br /> 2. More than 250 years.<br /> <br /> 3. 13.<br /> <br /> 4. In 2006.<br /> <br /> 5. The shortest stilt is two feet long, and the longest reaches over five feet.<br /> <br /> ====References====<br /> <br /> Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.<br /> <br /> Sun Miao 孙淼. (2018). &quot;一跷多艺&quot;: 胜芳高跷会的舞体表征与比较研究. [&quot;Multi-skills with one stilt&quot;: A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.<br /> <br /> https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin<br /> <br /> https://baijiahao.baidu.com/s?id=1643344511003907548&amp;wfr=spider&amp;for=pc<br /> <br /> <br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)<br /> <br /> ==Chinese Lion Dancing - Ding Daifeng 丁代凤==<br /> <br /> ===Introduction===<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.<br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)<br /> <br /> <br /> In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)<br /> <br /> ===Northern lion dancing===<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)<br /> <br /> ===Southern lion dancing===<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)<br /> <br /> Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)<br /> <br /> In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)<br /> <br /> ===Terms and Expressions===<br /> <br /> Western Regions 西域<br /> <br /> mount 坐骑<br /> <br /> Manjusri Bodhisattva 文殊菩萨<br /> <br /> gong 锣<br /> <br /> northern lion dancing 南狮<br /> <br /> southern lion dancing 北狮<br /> <br /> colorful silk ball 绣球<br /> <br /> wooden stakes 木桩<br /> <br /> spiritual resemblance神似<br /> <br /> Liu Bei lion 刘备狮<br /> <br /> Guan Gong lion 关公狮<br /> <br /> Zhang Fei lion 张飞狮<br /> <br /> sworn brothers 结义兄弟<br /> <br /> horse stances 马步<br /> <br /> Cai Qing 采青<br /> <br /> lettuces 生菜<br /> <br /> ===Questions===<br /> <br /> 1. How long is the history of lion dance in China?<br /> <br /> 2. Why did people gradually accept lion as a sacred animal?<br /> <br /> 3. Why did people use lion dance to celebrate the New Year?<br /> <br /> 4. What is the main difference between southern lion dancing and northern lion dancing?<br /> <br /> 5. What is the center of southern lion dancing?<br /> <br /> 6. How many colors are there in the heads of southern lions? And what are they?<br /> <br /> 7. What is “Cai Qing”? And what do you know about “Cai Qing”?<br /> <br /> ===Answers===<br /> <br /> 1. It is with a history of about 2000 years.<br /> <br /> 2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.<br /> <br /> 3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.<br /> <br /> 4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.<br /> <br /> 5. It is in southern China’s Guangdong province.<br /> <br /> 6. The head of southern lion has three colors, namely black, red and yellow.<br /> <br /> 7. It means &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming.<br /> <br /> ===References===<br /> <br /> Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.<br /> <br /> Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.<br /> <br /> Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.<br /> <br /> Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.<br /> <br /> ==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==<br /> ===A. The Eight Tang-Song Prose Masters===<br /> [[File:Tang Song Ba Da Jia.jpg]]<br /> <br /> ===Brief Introduction of The Eight Tang-Song Prose Masters===<br /> <br /> The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &quot;Ancient Prose Movement&quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25） <br /> In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)<br /> <br /> '''1. Han Yu'''<br /> [[File:Han Yu.jpg]]<br /> <br /> Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)<br /> Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)<br /> <br /> '''2. Liu Zongyuan'''<br /> [[File:Liu Zongyuan.jpg]]<br /> <br /> Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &quot;Liu Hedong &quot;, &quot; Mr. Hedong &quot;, also known as&quot; Liu Liuzhou &quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor .<br /> He was juxtaposed with Han Yu as &quot;Han Liu &quot;, with Liu Yuxi as &quot; Liu Liu &quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &quot;Wang Meng Wei Liu &quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &quot;Liu He Dong Colloection&quot; was one of his representatives. (Zhou Zhenfu 2016, 26)<br /> He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)<br /> <br /> '''3. Ouyang Xiu'''<br /> [[File:Ouyang Xiu.jpg]]<br /> <br /> Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.<br /> Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.<br /> Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)<br /> <br /> '''4. Su Xun'''<br /> [[File:Su Xun.jpg]]<br /> <br /> Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.<br /> Su Xun was a man of political ambition. He said that the main purpose of his works was &quot;to speak for the world &quot;, to&quot; apply to the present &quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)<br /> <br /> '''5. Su Shi'''<br /> [[File:Su Shi.jpg]]<br /> <br /> Su Shi, with a fame as &quot; Dongpo Jushi &quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .<br /> Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &quot;Han Chao Su hai&quot; with Han Yu in the prose area, &quot;Ou Su&quot; with Ouyang Xiu, &quot;Su Huang&quot; with Huang Tingjian, and &quot;Su Xin&quot; with Xin Qiji in the Ci area, so he was called &quot;the first all-round talent in ancient China&quot;.(Zhou Zhenfu 2016, 28)<br /> Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &quot;creating for certain purposes&quot;, advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.<br /> <br /> '''6. Su Zhe'''<br /> [[File:Su Zhe.jpg]]<br /> <br /> Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch.<br /> Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &quot;literary style&quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &quot;Ode to Ink bamboo&quot;.(Zhou Zhenfu 2016, 29)<br /> <br /> '''7. Wang Anshi'''<br /> [[File:Wang Anshi.jpg]]<br /> <br /> Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .<br /> Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)<br /> <br /> '''8. Zeng Gong'''<br /> [[File:Zeng Gong.jpg]]<br /> <br /> Zeng Gong was known as &quot;Mr. Nan Feng&quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &quot;eight masters&quot; of the Tang and Song Dynasties, he was also one of the &quot;Seven Zengs of Nanfeng&quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.<br /> <br /> '''9. Comparison between the Ancient Prose Movement and Renaissance'''<br /> Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)<br /> <br /> Comparison in ideology:<br /> The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.<br /> <br /> Comparison in writing style:<br /> The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)<br /> <br /> Comparison in literary form:<br /> The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&quot; Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)<br /> <br /> ===B. Terms and Expressions===<br /> The Eight Tang-Song Prose Masters 唐宋八大家<br /> <br /> Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》<br /> <br /> Ancient Prose Movement 古文运动<br /> <br /> parallel prose 骈文<br /> <br /> The Decline of Eight Generations 文起八代之衰<br /> <br /> The Article Giant 文章巨公<br /> <br /> Admired Literate of One Hundred Generations 百代文宗<br /> <br /> Han Changli Collection 《韩昌黎集》<br /> <br /> External collection 《外集》<br /> <br /> The Teacher's Theory《师说》<br /> <br /> Pre-Qin and Han Dynasties 先秦两汉时期<br /> <br /> writing in classical Chinese 文言文<br /> <br /> feudal provincial of Liuzhou 柳州刺史<br /> <br /> official supervisor of imperial censor 监察御史<br /> <br /> Liu He Dong Colloection 《柳河东集》<br /> <br /> Northern Song Dynasty 北宋<br /> <br /> a thousand volumes of collections of inscriptions 金石遗文一千卷<br /> <br /> Xia, Shang, Zhou Dynasties 三代<br /> <br /> the crown of that time 一时之冠<br /> <br /> Southern Tang Dynasty 南唐<br /> <br /> Yu Feng 余风<br /> <br /> The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》<br /> <br /> the Northern Song Dynasty poetry innovation movement北宋诗文革新运动<br /> <br /> Heng Lun 《衡论》<br /> <br /> Duke Jingguo 荆国公<br /> <br /> The Book to the Emperor 《上皇帝书》<br /> <br /> Dongpo Jushi 东坡居士<br /> <br /> Ci writer 词人<br /> <br /> Unconstrained Ci School豪放派<br /> <br /> literary and artistic attainments 文学艺术造诣<br /> <br /> the first all-round talent in ancient China 中国古代第一全才<br /> <br /> Su Men Four bachelors 苏门四学士<br /> <br /> the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》<br /> <br /> The New Theory《新论》<br /> <br /> On the Six Kingdoms 《六国论》<br /> <br /> Ode 赋<br /> <br /> The Ode to Ink bamboo 《墨竹赋》<br /> <br /> Seven Zengs of Nanfeng 南丰七曾<br /> <br /> the doctrine before the text先道后文<br /> <br /> the Book to Ouyang She Ren 《上欧阳舍人书》<br /> <br /> the Book to Bachelor Cai 《上蔡学士书》<br /> <br /> the Six Dynasties 六朝<br /> <br /> ===C. Questions===<br /> 1.Who are the pioneers of the Ancient Prose Movement?<br /> <br /> 2.Which kind of prose they advocate in the Ancient Prose Movement?<br /> <br /> 3.Do you know any representatives of Liu Zongyuan?<br /> <br /> 4.Why Ouyang Xiu is called &quot;Liu Yi Scholar&quot;?<br /> <br /> 5.What’s the relationship among Su Xun, Su Shi and Su Zhe?<br /> <br /> 6.Who are the &quot;Seven Zengs of Nanfeng&quot;?<br /> <br /> 7.Do you know any about the Renaissance?<br /> <br /> ===D. Answers===<br /> <br /> 1.Han Yu and Liu Zongyuan.<br /> <br /> 2.The prose of Pre-Qin and Han Dynasties.<br /> <br /> 3.The &quot;Liu He Dong Colloection&quot;.<br /> <br /> 4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.<br /> <br /> 5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.<br /> <br /> 6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> <br /> 7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.<br /> <br /> ===References===<br /> Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.<br /> <br /> Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.<br /> <br /> He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.<br /> <br /> Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.<br /> <br /> Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).<br /> <br /> Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.<br /> <br /> Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.<br /> <br /> ==Music, Instruments, Pipa - Gao Mingzhu 高明珠==<br /> [Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu<br /> <br /> '''1. A Brief Introduction'''<br /> <br /> Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&quot; and &quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)<br /> <br /> '''2.The Development of Pipa'''<br /> <br /> The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)<br /> <br /> During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one kind playing skill in playing pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16) <br /> <br /> There was only one kind playing skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from small to popular. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> '''3.Pipa Schools and Their Chracteristics'''<br /> <br /> The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)<br /> <br /> (1)The Wuxi school<br /> <br /> The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)<br /> <br /> (2)The Pinghu school<br /> <br /> The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as &quot; paired butterfly flying&quot; .(Deng Sijia 2020,10)<br /> <br /> (3)The Pudong School <br /> <br /> Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)<br /> <br /> (4)The Chongming school<br /> <br /> The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)<br /> <br /> (5)The Shanghai school<br /> <br /> This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)<br /> <br /> '''4.Traditional Pipa Music'''<br /> <br /> Traditional pipa music can be divided into military songs, literary songs and military-literary songs.<br /> <br /> Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are &quot;Ambush on All Sides&quot;, &quot;Bury Me High&quot;, &quot;Hai Qing Hunting the Swan&quot;, &quot;General Order in the Han Dynasty&quot;. [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)<br /> <br /> Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; and so on.<br /> <br /> Military-literary song is the combination of martial song and literary song. The representative songs are &quot;The Spring Snow&quot;, &quot;High Mountain and Flowing Water&quot;, &quot;Dragon Boat&quot;, &quot;Flute and Drum at Sunset&quot; and so on.<br /> <br /> '''5.Refferences''' [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> [1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020<br /> <br /> [2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.<br /> <br /> [3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.<br /> <br /> [4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.<br /> <br /> [Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> '''6.Terms and Expressions'''<br /> <br /> 弹拨乐器—plucked instruments<br /> <br /> 汉化—Chinesization<br /> <br /> 套曲—divertimentoes<br /> <br /> 游牧民族—nomad tribe<br /> <br /> 宫廷乐—court music<br /> <br /> 轮指法—tremolo<br /> <br /> 音色—timbre<br /> <br /> 曲目—repertoire<br /> <br /> 并弦—parallel string<br /> <br /> 指法—fingering techniques<br /> <br /> '''7.Questions'''<br /> <br /> 1、How many stages did pipa go through during its development?<br /> <br /> 2、What characteristics did pipa have during Wei and Jin dynasties?<br /> <br /> 3、What changes had been made to pipa during Ming and Qing dynasties?<br /> <br /> 4、How many schools does pipa have and what are they?<br /> <br /> 5、Can you list at least 3 representative repertoires of literary songs played by pipa? <br /> <br /> '''8.Answers'''<br /> <br /> 1、Four.<br /> <br /> 2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.<br /> <br /> 3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. <br /> <br /> 4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school. <br /> <br /> 5、&quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; .<br /> <br /> [Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> ===Terms and Expressions===<br /> ===xxx===<br /> <br /> ==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001== Major.................<br /> === Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === <br /> <br /> The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?<br /> <br /> '''1. Huli-jing (狐狸精) in China'''<br /> <br /> First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.<br /> <br /> People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.<br /> <br /> Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.<br /> <br /> The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.<br /> <br /> Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.<br /> A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &quot;Good Hunt&quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.<br /> <br /> In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &quot;Painted Skin (畫皮)&quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.<br /> <br /> In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.<br /> <br /> Quite a lot of information about werewolf foxes can be obtained from the TV series &quot;The Legend of the Nine-Tailed Fox&quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.<br /> <br /> Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.<br /> <br /> The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.<br /> <br /> '''2. Kitsune (キツネ) in Japan''' <br /> <br /> In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&quot;Fox-messenger&quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.<br /> <br /> Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.<br /> <br /> Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.<br /> <br /> A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. <br /> <br /> '''3. Kumiho (구미호) in Korea'''<br /> <br /> Kumiho - (구 &quot;ku&quot; - nine, 미 &quot;mi&quot; - tail, 호 &quot;ho&quot; - fox - &quot;fox with nine tails&quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.<br /> <br /> In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> Shape shifter – 成精<br /> <br /> Creature –生物<br /> <br /> Seductive –诱人的<br /> <br /> Damnation –诅咒<br /> <br /> Metaphor –隐喻<br /> <br /> Ascribe –属性<br /> <br /> Indigenous –土着<br /> <br /> Deity – 反面人物<br /> <br /> Liver – 肝脏<br /> <br /> ===References===<br /> <br /> 1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.<br /> <br /> 2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.<br /> <br /> 3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.<br /> <br /> ===Questions===<br /> <br /> 1. What was the attitude towards the Huli Jing in Ancient China?<br /> <br /> 2. Can we characterize Kitsune as a positive or negative character?<br /> <br /> 3. Could Kumiho become human forever?<br /> <br /> ===Answers===<br /> <br /> 1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.<br /> <br /> 2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.<br /> <br /> 3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.<br /> References ..................<br /> <br /> ==Chinese Characters - Gu Dongfang 顾东方==<br /> Chinese Characters<br /> <br /> ===Origin===<br /> <br /> Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）<br /> <br /> ===Evolution of Chinese characters===<br /> [[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]<br /> Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)<br /> <br /> ===Ancient Chinese characters===<br /> <br /> ====Oracle bone script====<br /> <br /> Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).<br /> <br /> ====Bronze script====<br /> <br /> In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.<br /> <br /> ====Seal script====<br /> Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. <br /> The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.<br /> <br /> ===Modern characters===<br /> ====Clerical script====<br /> <br /> After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.<br /> From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.<br /> <br /> ====Regular script====<br /> <br /> Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.<br /> <br /> ===Formation of Chinese characters===<br /> <br /> ====Pictograms====<br /> <br /> Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &quot;sun,&quot; 月 (yuè) for &quot;moon,&quot; and 木 (mù) for &quot;tree.&quot;<br /> <br /> ====Pictophonetic compounds====<br /> <br /> Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.<br /> <br /> ====Ideograph ====<br /> <br /> Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &quot;knife,&quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &quot;blade.&quot; Other common examples are 上 (shàng) for &quot;up&quot; and 下 (xià) for &quot;down.&quot; This category is small, as most concepts can be represented by characters in other categories.<br /> <br /> ====Logical aggregates====<br /> <br /> Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light.<br /> <br /> ====Associate transformation====<br /> <br /> Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &quot;elderly person,&quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.<br /> <br /> ====Borrowing ====<br /> <br /> Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)<br /> <br /> ===Simplification of Chinese characters===<br /> <br /> The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)<br /> <br /> ===Terms and expressions===<br /> <br /> 1.Oracle Bone Inscriptions  甲骨文<br /> <br /> 2.Bronze Inscriptions 金文<br /> <br /> 3.Small seal characters 小篆<br /> <br /> 4.Official script 隶书<br /> <br /> 5.Regular script 楷书<br /> <br /> 6.Cursive writing 草书<br /> <br /> 7.Cang Jie 仓颉<br /> <br /> <br /> 8.Clerical script 楷书<br /> <br /> 9.Su Shi 苏轼<br /> <br /> 10. Wang Xizhi 王羲之<br /> <br /> 11.Ou Yangxun 欧阳询<br /> <br /> 12.Yan Zhenqing 颜真卿<br /> <br /> 13.Pictograms 象形<br /> <br /> 14. Pictophonetic compounds 指事<br /> <br /> 15.Ideograph 会意<br /> <br /> 16.Logical aggregates 形声<br /> <br /> 17.Associate transformation 转注<br /> <br /> 18.Borrowing 假借<br /> <br /> ===Question===<br /> 1.How many Chinese characters are there?<br /> <br /> 2.How many letters are in the Chinese alphabet?<br /> <br /> 3. How many formations of Chinese characters? What are they?<br /> <br /> ===Answers===<br /> 1. According to the latest statics, there are nearly 91251 Chinese characters recorded .<br /> <br /> 2. There are 26 letters in Chinese alphabet.<br /> <br /> 3. Six formations are included in Chinese characters system, and they are Pictograms<br /> Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing<br /> <br /> ===References===<br /> <br /> 1.王显春. 汉字的起源[M]. 学林出版社, 2002.<br /> <br /> 2.刘又辛. &quot;关于汉字发展史的几个问题(上).&quot; 语文建设 12(1998):34-37.<br /> <br /> 3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188<br /> <br /> 4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.<br /> <br /> ==Chinese Knots - Guan Qinqing 管钦清==<br /> <br /> ===A.Chinese Knots===<br /> <br /> ====1.A Brief Introduction about Chinese Knots====<br /> <br /> The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It <br /> <br /> originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.<br /> <br /> The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.<br /> <br /> The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and <br /> <br /> personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which <br /> <br /> earned the knot its name.<br /> <br /> ====2.The Classification of Chinese Knots====<br /> <br /> There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥<br /> <br /> 结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井<br /> <br /> 结）,Cross Knot(十字结） and Ping Knot（平结）.<br /> <br /> Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. <br /> <br /> =====2.1.The Double Coin Knot=====<br /> <br /> Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views <br /> <br /> on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only <br /> <br /> represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &quot;luck money&quot;. Therefore, for <br /> <br /> the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes <br /> <br /> &quot;good things come in pairs&quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful <br /> <br /> patterns, such as clouds and Perfect Knots，etc.<br /> <br /> =====2.2.The Good Luck Knot=====<br /> <br /> As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.<br /> <br /> And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.<br /> <br /> =====2.3.The Pan Chang Knot=====<br /> <br /> Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the <br /> <br /> avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is <br /> <br /> often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.<br /> <br /> ====3.The Knitting Method of Chinese Knots====<br /> <br /> The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.<br /> <br /> The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.<br /> <br /> ====4.The Cultural Connotations of Chinese Knots====<br /> <br /> Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of <br /> <br /> rope and thread.In Chinese， &quot;rope&quot; (绳）and &quot;god&quot; （神）are homophonic, so the Chinese nation has a worship of &quot;rope&quot;. In addition, Chinese people are descendants of <br /> <br /> dragons.Because the shape of &quot;rope&quot; is like a winding dragon, people also regard &quot;rope&quot; as a symbol of dragon. Chinese people also have their own unique understanding of <br /> <br /> &quot;knot&quot;, which means reunion and happiness. Many of the Chinese words composed of &quot;结&quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交<br /> <br /> （making friends), and 永结同心（tie the knot),etc. &quot;结&quot;(knot) is also homonymous with &quot;吉&quot;（ausipiciousness), so people even think that &quot;knot&quot; is a symbol of good luck.<br /> <br /> ====5.Comparisons between Chinese Knots and Cross Necklaces====<br /> <br /> =====5.1.Different Cultural Connotations=====<br /> <br /> From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of <br /> <br /> Christianity. The cross, derived from the Latin &quot;crux&quot;, means &quot;fork&quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient <br /> <br /> Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross <br /> <br /> ornaments in the west as cross necknaces are usually used to represent love and salvation.<br /> <br /> =====5.2.Different Shapes=====<br /> <br /> Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have <br /> <br /> different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.<br /> <br /> ====6.References====<br /> <br /> 李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.<br /> <br /> 李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.<br /> <br /> 许星.路论中国结[J].丝绸,2004(02) : 46-47.<br /> <br /> 邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.<br /> <br /> 王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.<br /> <br /> ===B. Terms and Expressions===<br /> <br /> Double Coin Knot 双钱结<br /> <br /> Good Luck Knot 吉祥结<br /> <br /> Chinese Button Knot 纽扣结<br /> <br /> Sauvastika Knot 万字结<br /> <br /> Oxalis Knot 酢浆草结<br /> <br /> Pan Chang Knot 盘长结<br /> <br /> Round Brocade Knot 团锦结<br /> <br /> Caisson Celling Knot 藻井结<br /> <br /> Cross Knot 十字结<br /> <br /> Ping Knot 平结<br /> <br /> tie the knot 永结同心<br /> <br /> luck money 压岁钱<br /> <br /> the bishop's identity 主教职权<br /> <br /> ===C. Questions===<br /> <br /> 1. What is the Chinese knot?<br /> <br /> 2. Do you know the names of the main Chinese knots? What are they?<br /> <br /> 3. What do &quot;绳&quot; and &quot;结&quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> ==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==<br /> <br /> [[File:Chinese Mythology.jpg|thumb|right|Panku]]<br /> <br /> ===Introduction===<br /> <br /> The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.<br /> <br /> ===A. Panku Created the World===<br /> <br /> In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).<br /> <br /> At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 &quot;li&quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).<br /> Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.<br /> <br /> ===B. NuWa Created Human Beings===<br /> <br /> [[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]<br /> <br /> Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).<br /> <br /> As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.<br /> <br /> During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.<br /> <br /> ===C. Fushi Taught the People=== <br /> <br /> In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .<br /> <br /> Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &quot;trigrams&quot;, in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This &quot;trigrams&quot; was also a mean to interpret future and consult oracle about the right ways to follow.<br /> <br /> Finally, Fushi gave his last gift (music) in order people can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &quot;pipa&quot; (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history. Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. <br /> <br /> ===D. Water War===<br /> <br /> Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as a very big giants with different shapes, Gong shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).<br /> <br /> Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).<br /> <br /> In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.<br /> <br /> ===E. Terms and Expressions===<br /> <br /> Chinese Mythology 中国神话<br /> <br /> Panku 盤古<br /> <br /> Yin/Yang 陰陽 / 阴阳<br /> <br /> Nuwa 女媧<br /> <br /> Fushi 伏羲<br /> <br /> Water War 水战<br /> <br /> ===F. Questions===<br /> <br /> 1. Why an egg a good symbol for the beginning of the world?<br /> <br /> 2. Why Nuwa decided to create human beings?<br /> <br /> 3. What did Fushi taught to people?<br /> <br /> 4. What was the cause of Gong and Zurong’s war and who won?<br /> <br /> ===G. Answers===<br /> <br /> 1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.<br /> <br /> 2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.<br /> <br /> 3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.<br /> <br /> 4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.<br /> <br /> ===References===<br /> <br /> 1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.<br /> <br /> 2. Irene Dea Collier. (2001). &quot;Chinese Mythology&quot;. Library of Congress Cataloging-in-Publication Data.<br /> <br /> 3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg<br /> <br /> 4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)<br /> <br /> ==Gods and Immortals - Gui Yizhi 桂一枝==<br /> <br /> ===Chinese gods and immortals===<br /> <br /> ====Chinese mythology system====<br /> <br /> Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.<br /> <br /> Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.<br /> <br /> The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).<br /> <br /> Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &quot;Way&quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.<br /> <br /> At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &quot;most widely beloved Buddhist Divinity&quot; with miraculous powers to assist all those who pray to her.<br /> <br /> ====神 shén, 帝 dì and 仙 xiān====<br /> <br /> Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. dì, sometimes translated as &quot;thearch&quot;, implies a manifested or incarnate &quot;godly&quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.<br /> <br /> ====Eight immortals====<br /> <br /> The Eight Immortals are a group of legendary xian (&quot;immortals&quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &quot;Covert Eight Immortals&quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.<br /> <br /> The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism. <br /> <br /> The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &quot;The Eight Immortals cross the sea, each reveals its divine powers&quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.<br /> <br /> ===Terms and Expressions===<br /> <br /> immortals 仙 <br /> <br /> mythology 神话，神话学<br /> <br /> cosmology 宇宙论，宇宙观 <br /> <br /> monolithic 整体（式）的<br /> <br /> the Battle of Zhuolu 涿鹿之战<br /> <br /> pantheistic 泛神论的 <br /> <br /> polytheistic 多神论的<br /> <br /> Three Pure Ones 三清<br /> <br /> anthropomorphic 人格化的<br /> <br /> tutelary 守护神 <br /> <br /> deity 神<br /> <br /> Buddha 佛 <br /> <br /> Shakyamuni 释迦牟尼<br /> <br /> Amitabha 阿弥陀佛 <br /> <br /> Amitāyus 无量寿佛<br /> <br /> celestial 天的 <br /> <br /> Bodhisattva 菩萨 <br /> <br /> Pure Land 极乐世界 <br /> <br /> vessels 法器<br /> <br /> Covert Eight Immortals 暗八仙 <br /> <br /> Taoist 道家的，道士<br /> <br /> ===Questions===<br /> <br /> 1. What are the topics of the Ancient mythology?<br /> <br /> 2. What are the differences among shén, dì and xiān?<br /> <br /> 3. What do the Eight immortals represent respectively?<br /> <br /> ===Answers===<br /> 1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.<br /> <br /> 2. shén and dì corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> 3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.<br /> <br /> ===References===<br /> <br /> [1]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.pp11-12<br /> <br /> [2]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.pp.63-67 <br /> <br /> [3]柏杨．中国人史纲：时代文艺出版社，1987.pp. 34-40<br /> <br /> [4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear &amp; Company.pp.27-28 <br /> <br /> [5]Buddhism, the Fulfilment of Hinduism P37<br /> <br /> [6]胡亚楠. 从神到仙：先秦时期神仙信仰的形成因素研究[D].哈尔滨师范大学,2020.<br /> <br /> [7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.pp. 200-201<br /> <br /> [8]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [9]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [10]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago. pp. 313, 319–334.<br /> <br /> ==Literature, Tang and Song - Guo Lu 郭露 202070080588==<br /> <br /> ===Classical Prose Movement of late Tang Dynasty and Song Dynasty===<br /> <br /> ====Introduction====<br /> <br /> “The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its deep.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)<br /> <br /> ====Development====<br /> <br /> The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)<br /> <br /> However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)<br /> <br /> After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) <br /> <br /> ====Representatives====<br /> <br /> '''1.Han Yu'''<br /> <br /> Han Yu (768 – 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &quot;Eight Great Prose Masters of the Tang and Song&quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)<br /> <br /> Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)<br /> <br /> '''2.Liu Zongyuan'''<br /> <br /> Liu Zongyuan (773 – 819), courtesy name Zihou, also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese literature, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &quot;Jiangxue&quot;. (Yang Shengli 2020, 42-44)<br /> <br /> '''3.Ouyang Xiu'''<br /> <br /> Ouyang Xiu (1007 – 1072), courtesy name Yong Shu, also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)<br /> <br /> Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)<br /> <br /> Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)<br /> <br /> ====Masterworks====<br /> <br /> Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)<br /> <br /> ====Influence====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)<br /> <br /> ====Terms and Expressions====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家<br /> <br /> Classical Prose Movement 古文运动<br /> <br /> ''Eight Records of Excursions in Yongzhou'' 《永州八记》<br /> <br /> ''On Teachers'' 《师说》<br /> <br /> ''New Book of Tang'' 《新唐书》<br /> <br /> ''Historical Records of the Five Dynasties'' 《新五代史》<br /> <br /> ''Zuiweng Tingji'' 《醉翁亭记》<br /> <br /> ''Shang Zhongyong'' 《伤仲永》<br /> <br /> ''On Jia Yi'' 《贾谊论》<br /> <br /> ''First Ode to the Red Cliff'' 《赤壁赋》<br /> <br /> ====Questions====<br /> <br /> 1. Who were the first promoters of the Classical Prose Movement?<br /> <br /> 2. What does the Classical Prose Movement mean?<br /> <br /> 3. What's political and religious purposes of the Classical Prose Movement?<br /> <br /> ====Answers====<br /> <br /> 1. The first promoters of this movement were Han Yu and Liu Zongyuan.<br /> <br /> 2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.<br /> <br /> 3. The reason what Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.<br /> <br /> ====References====<br /> <br /> Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.<br /> <br /> Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.<br /> <br /> Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.<br /> <br /> Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.<br /> <br /> Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.<br /> <br /> Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.<br /> <br /> Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.<br /> <br /> ==The tradition of Red envelope and Lucky money - Ha, Thi Thu Hang - 201921080008==<br /> <br /> ===The Chinese Red Envelope and Lucky money tradition===<br /> <br /> In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.<br /> <br /> ====The Legend====<br /> <br /> In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> <br /> One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> There are also other legends about this custom related to the son Duong Quy Phi of the Tang dynasty - China and the Qin dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.<br /> <br /> ====The tradition====<br /> <br /> The Chinese custom of lucky money is called &quot;Hongbao&quot;. Chinese people really like red, so the lucky money is always red, symbolizing luck and happiness. The red envelope is called yasui qian (压岁钱 /Yāsuìqián/), which means &quot;suppressing ghosts money&quot;. Those who receive a red envelope are wished another safe and pea Sending red envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese lucky money must avoid the number 4 and be sealed. The children, after receiving the lucky money, do not open it immediately, but have to put it all under the pillow after about a week to open it, it is impolite to open a red envelope in front of the person who gives it to you. The meaning of this is for the lucky money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese lucky money.<br /> <br /> Red envelopes, also called red packets, lucky money, or &quot;hongbao&quot; in Chinese, &quot;li shi&quot; / &quot;li xi&quot; in Vietnamese are a popular monetary gift given on some important occasions or festivals in China, Vietnam, Korea, Japan, some other Asian countries, especially widely seen during the Chinese New Year (Spring Festival). During Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into.<br /> <br /> ====Outside of China====<br /> <br /> The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent.<br /> <br /> Each country has different ways of lucky money and changes over time, but the basic custom of lucky money is to want to send wishes of peace to all relatives and friends in the new year.<br /> In Vietnam, the Lunar New Year is one of the great holidays of the year. The traditional New Year's customs are still preserved, in which the lucky money is typical. On the first day of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give lucky money to the children with the message of good luck, good care and good study. Today, the tradition of lucky money in Vietnam is also expanded in the direction that children give lucky money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.<br /> <br /> In Japan, lucky money is called Otoshidama. Unlike other countries, the amount of Japanese lucky money depends on the child's age, the relationship of the family. Otoshidama red envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese red envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the lucky money will be written on the red envelope to show respect for the recipient. The message of each Otoshidama red envelopes is a wish for a warm, peaceful and lucky new year.<br /> <br /> In Korea, the lucky money is called Sabae. On New Year's Day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive lucky money together with wishes for health and peace in the new year. The lucky money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems...<br /> <br /> ===Terms and Expressions===<br /> Luckymoney 利市 /Lì shì/ <br /> <br /> Red envelope 紅包 /Hóngbāo/ <br /> <br /> Confucianism 儒教 /Rújiào/ <br /> <br /> Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/<br /> <br /> ===Questions===<br /> <br /> 1. Do you know the origin of giving Lunar new year lucky money to children？<br /> <br /> ===Answers===<br /> <br /> 1. In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> ===References===<br /> https://en.wikipedia.org/wiki/Red_envelope [https://en.wikipedia.org/wiki/Red_envelope]<br /> <br /> ==Calendar, The 24 Solar Terms - He Changqi 何长琦==<br /> ==='''The Twenty-four Solar Terms'''===<br /> <br /> ===1. The orgin and development of the twenty-four solar terms===<br /> <br /> “The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）<br /> <br /> ===2. The definition and classification of the twenty-four solar terms===<br /> <br /> “The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. <br /> A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate. The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.<br /> (Yuan Jixi 2016:)<br /> <br /> ===3.Folklore of the 24 solar terms===<br /> <br /> The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the &quot;whipping of the spring bull&quot; at the beginning of spring and the &quot;tailing festival&quot; at the end of the cold season. Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &quot;the unity of heaven and man, in accordance with the four seasons&quot;, the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. <br /> <br /> These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &quot;biting the spring&quot; on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)<br /> <br /> ===4.Importance and values===<br /> <br /> ===4.1 Importance in ancient times===<br /> <br /> The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. The 24 solar terms have played an important role in the life and work of traditional Chinese people.<br /> Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that &quot;if the agricultural time is not violated, there will be sufficient grain supply.&quot; (Mencius - Liang Huiwang). Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives. For example, the &quot;Four Beginnings&quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)<br /> <br /> ===4.2 Values in modern society===<br /> <br /> In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation. It still has its practical values in modern society.<br /> Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture. Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature. Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)<br /> <br /> ===Terms and Expressions===<br /> <br /> the Beginning of Spring 立春<br /> <br /> Beginning of Autumn 立秋<br /> <br /> Rain Water 雨水 <br /> <br /> End of Heat 处暑<br /> <br /> Insects Awakening 惊蛰 <br /> <br /> White Dew 白露<br /> <br /> Spring Equinox 春分 <br /> <br /> Autumnal Equinox 秋分<br /> <br /> Fresh Green 清明 <br /> <br /> Cold Dew 寒露<br /> <br /> Grain Rain 谷雨 <br /> <br /> First Frost 霜降 <br /> <br /> Beginning of Summer 立夏 <br /> <br /> Beginning of Winter 立冬<br /> <br /> Lesser Fullness 小满 <br /> <br /> Light Snow 小雪<br /> <br /> Grain in Ear 芒种 <br /> <br /> Heavy Snow 大雪<br /> <br /> Summer Solstice 夏至<br /> <br /> Winter Solstice 冬至<br /> <br /> Lesser Heat 大暑<br /> <br /> Lesser Cold 小寒<br /> <br /> Greater Heat 立春 <br /> <br /> Greater Cold 大寒<br /> <br /> ===Questions===<br /> 1.1.What are the first four solar terms measured by ancient Chinese people?<br /> <br /> 2.Where does the 24 solar terms originate from?<br /> <br /> 3. What are the eight solar terms that reflect seasonal changes？<br /> <br /> 4.When was included in the World Intangible Cultural Heritage List? <br /> <br /> 5.What are the food customs in the Beginning of Spring?<br /> <br /> 6.Do you konw any other folklore of the 24 solar terms?<br /> ===Answers===<br /> 1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.<br /> <br /> 2.It originated in the Yellow River valley.<br /> <br /> 3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice<br /> <br /> 4.In 2016.<br /> <br /> 5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.<br /> <br /> 6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the &quot;Sage of Medicine&quot;, invented the &quot;jiaozi&quot; to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as &quot;dumpling&quot; or jiaozi. Today there is still a saying that goes &quot;Eat dumplings on Start of Winter Day, or your ears will be frostbitten.&quot;<br /> <br /> ===References===<br /> Yuan Jix. 袁济喜. (2016). &quot;中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)<br /> <br /> Wang Jiahua. 王加华.（2019.9.20）&quot;China Social Science Network&quot; http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml<br /> <br /> Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）&quot;Chinanews&quot; http://www.chinanews.com/cul/2020/11-17/9340057.shtml <br /> <br /> He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html<br /> <br /> ==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==<br /> <br /> ===Collection of Yue Fu Poetry《乐府诗集》===<br /> <br /> ====Introduction====<br /> <br /> '''1.Brief introduction'''<br /> <br /> ''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. &quot;Yuefu&quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)<br /> <br /> '''2.About the author'''<br /> <br /> Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation.(Wu Ting 2007, 22)<br /> <br /> '''3.Content introduction'''<br /> <br /> It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &quot;Yuefu Poetry Collection&quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties.(Wu Ting 2007, 30)<br /> <br /> ====Masterpieces====<br /> <br /> '''1.''The Peacock Flies to Southeast'''''<br /> <br /> ''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit.As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed.(Wu Ting 2007, 36)<br /> <br /> '''2.''Mulan Poetry'''''<br /> <br /> ''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &quot;Mulan is a girl&quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)<br /> <br /> ====Evaluation====<br /> <br /> '''1.Contributions'''<br /> <br /> The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &quot;Moshangsang&quot;, &quot;dongmenxing&quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. Yuefu Poetry Collection introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)<br /> <br /> '''2.Shortcomings'''<br /> <br /> There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)<br /> <br /> ===References===<br /> Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)<br /> <br /> Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Collection of Yue Fu Poetry''《乐府诗集》<br /> <br /> Jiaomiao songs郊庙歌辞<br /> <br /> Yanshe songs燕射歌辞<br /> <br /> Guchui drum songs鼓吹曲辞<br /> <br /> Hengchui songs横吹曲辞<br /> <br /> Xianghe songs相和歌辞<br /> <br /> ''The Peacock Flies to Southeast'' 《孔雀东南飞》<br /> <br /> ''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)<br /> <br /> ===Questions===<br /> <br /> 1.When was Yuefu Poetry compiled？<br /> <br /> 2.Which institution did &quot;Yuefu&quot; belong to?<br /> <br /> 3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.In Song Dynasty.<br /> <br /> 2.It belongs to the institution in charge of music.<br /> <br /> 3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)<br /> <br /> ==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==<br /> <br /> ===Eight Major Cuisines of China===<br /> <br /> ====1. A Brief Introduction About Chinese Cuisine====<br /> As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &quot;four major cuisines.&quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &quot;eight major cuisines&quot; of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)<br /> <br /> ====2. The Classification of Chinese Cuisines====<br /> <br /> China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)<br /> <br /> =====2.1 Shandong Cuisine=====<br /> Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)<br /> =====2.2 Sichuan Cuisine=====<br /> Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one <br /> of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)<br /> =====2.3 Guangdong Cuisine=====<br /> Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)<br /> =====2.4 Fujian Cuisine=====<br /> Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &quot;pickled taste&quot;. (Shi Hongmei 2009, 55)<br /> =====2.5 Jiangsu Cuisine=====<br /> Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)<br /> =====2.6 Zhejiang Cuisine=====<br /> Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)<br /> =====2.7 Hunan Cuisine=====<br /> Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)<br /> =====2.8 Anhui Cuisine=====<br /> Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)<br /> <br /> ====3. A Comparison of Chinese-Western Diet Culture====<br /> <br /> Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)<br /> <br /> Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods.(Caihua 2009, 57)<br /> <br /> ====References====<br /> <br /> Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.<br /> <br /> Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.<br /> <br /> Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.<br /> <br /> Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．<br /> <br /> Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.<br /> <br /> ===Terms and Expressions===<br /> <br /> pot-stewed fowl 卤味<br /> <br /> stewing and simmering 炖，煨<br /> <br /> prickly ash 花椒<br /> <br /> fermented soybean 豆鼓<br /> <br /> Braised Dongpo Pork 东坡肉<br /> <br /> Buddha Jumps over the Wall 佛跳墙<br /> <br /> Kung Pao Chicken 宫保鸡丁<br /> <br /> Bean Sauce Tofu 麻婆豆腐<br /> <br /> ===Questions===<br /> 1. How many types of cuisines are there in china?<br /> <br /> 2. What’s differences between Chinese and western diets?<br /> <br /> 3. What is the origin of Dongpo Meat?<br /> <br /> ===Answers===<br /> 1. Eight<br /> <br /> 2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. <br /> <br /> 3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.<br /> <br /> ==Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting==<br /> <br /> Chinese Paper Cutting 剪纸<br /> <br /> ===Text===<br /> ===Introduction===<br /> The art of paper cutting in China may date back to the second century CE, since paper was invented by Cai Lunin the Eastern Han Dynasty in China. As paper became more affordable, paper-cutting became one of the most important types of Chinese folk art. Later, this art form spread to other parts of the world, with different regions adopting their own cultural styles. Because the cut-outs are often used to decorate doors and windows, they are sometimes referred to as chuanghua, window flowers or window paper-cuts. People glued the papercuts to the exterior of windows, so the light from the inside would shine through the negative space of the cutout.[1] Usually, the artworks are made of red paper, as red is associated with festivities and happiness in Chinese culture, but other colours were also used. Normally paper-cutting artwork is used on festivals like Spring Festival weddings and childbirth. Paper-cuting always symbolizes luck and happiness.<br /> <br /> ===History===<br /> The paper was invented in the Western Han Dynasty (6th century BC), before which there was no paper-cut art. However, at that time, people used thin-film materials to make handicrafts by hollowing out carving techniques, which had been popular since before paper appeared, that is, carving, carving, carving and cutting techniques were used to carve patterns on gold foil, leather, silk and even on leaves. In the historical records, the brother of the cutting Tung Tong describes the Zhou Dynasty king of the Western Zhou Dynasty who cut his &quot;Guiyu&quot; to his brother by using Wutong leaves and Feng Ji Yu to Tang as Hou. During the Warring States period, leather engraving (one of the cultural relics unearthed from No.1 Chu tomb in jianglingwangshan, Hubei Province) and silver foil hollowed out and engraved patterns (one of the cultural relics unearthed from the Warring States site in Guwei village, Huixian County, Henan Province) were used in the Warring States period. Their appearance laid a certain foundation for the formation of folk paper-cut. In the southern and Northern Dynasties, &quot;Mulan Ci&quot; has the poem &quot;yellow to the mirror&quot;. The earliest paper-cut work in China was found in the Northern Dynasty period (386-581 A.D.) unearthed near the Flame Mountain in Turpan, Xinjiang. These paper-cut, the use of repeated folding and image processing techniques.<br /> <br /> In the Ming and Qing Dynasties, the paper-cut handicraft became mature and reached its peak. Folk paper-cut handicrafts are more widely used, such as flower decorations on folk lanterns, patterns on fans, and embroidery patterns, etc., all of which are decorated with paper-cut for reprocessing [9]. What's more, Chinese people often use paper-cut as decoration to beautify the home environment. For example, door stacks, window decorations, cabinet flowers, flower lovers and ceiling flowers are used to decorate doors, windows and rooms.<br /> <br /> At the beginning of the 20th century, the &quot;May 4th&quot; New Culture Movement established the rudiment of Chinese folklore under the advocacy of advanced intellectuals Cai Yuanpei, Lu Xun, Liu Bannong and Zhou Zuoren. They widely collect folk literature materials, but also strive to collect folk art works, including folk paper-cut. In the 1930s, artist Chen Zhinong began the research and creation of folk paper-cut in Beijing. He used sketches and silhouettes to depict a large number of customs and customs in old Beijing, such as street vendors, workshop craftsmen, food stalls and tea picking, markets, temple fairs, and market idlers.<br /> <br /> ===Five Regions===<br /> <br /> <br /> ===Techniques===<br /> ===References===<br /> <br /> ===Terms and Expressions===<br /> <br /> ===Questions===<br /> <br /> ===Answers===<br /> <br /> ==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==<br /> <br /> ===The Chinese Medical Sage - Zhang Zhongjing===<br /> <br /> Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)<br /> <br /> Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)<br /> <br /> This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)<br /> <br /> Later, people called the doctor who sat in the drugstore to treat patients &quot;the doctor sitting in the hall&quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)<br /> <br /> When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)<br /> <br /> There is a Chinese saying that goes, &quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)<br /> <br /> When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)<br /> <br /> Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &quot; Cold Dispelling Jiaoer Soup&quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)<br /> <br /> Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &quot;Cold Dispelling Jiaoer Soup&quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &quot;Cold Dispelling Jiaoer Soup&quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)<br /> <br /> In fact, the way of making &quot;Cold Dispelling Jiaoer Soup&quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &quot;Jiao Er&quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&quot; (首都医药 2003, 40)<br /> <br /> At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)<br /> <br /> <br /> [[File:Zhang_Zhongjing.jpg]]<br /> <br /> ===References===<br /> <br /> 2003(17). 张仲景故乡的二十四个故事(六) 饺子的来历[J]. 首都医药.<br /> <br /> Zhang Maoyun 张茂云. 2014(04). 伤寒杂病论成书年代及仲景生平年代考历[J]. 中国中医药现代远程教育.<br /> <br /> Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. 2013(07). “医圣”张仲景[J]. 中国卫生人才.<br /> <br /> Zhang Deli 张德礼. 2019(05). 心系百姓的“医圣”张仲景[J]. 现代班组.<br /> <br /> Tan Rongzhou 覃荣周. 2013(07). 张仲景对我国医学发展的历史贡献[J]. 兰台世界.<br /> <br /> Zhao Qingxin 赵清新. 1999(05). 万世医宗张仲景[J]. 解放军健康.<br /> <br /> 2020(03). 张仲景:“医圣”之名传天下[J]. 天一. 月读.<br /> <br /> ===Terms and Expressions===<br /> <br /> medical sage 医圣<br /> <br /> Treatise on Febrile and Miscellaneous Diseases《伤寒杂病论》<br /> <br /> treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治<br /> <br /> yamen 衙门<br /> <br /> Great Cold ( 24th solar term ) 大寒<br /> <br /> Slight Cold ( 23rd solar term ) 小寒<br /> <br /> look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切<br /> <br /> Cold Dispelling Jiaoer Soup 祛寒娇耳汤<br /> <br /> ===Questions===<br /> <br /> 1. What's the honorable title Zhang Zhongjing addressed as?<br /> <br /> 2. What's the official role Zhang once taken?<br /> <br /> 3. When would Zhang treat patients for free at yamen?<br /> <br /> 4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?<br /> <br /> 5. What's the relationship between Zhang Zhongjing and dumplings?<br /> <br /> ===Answers===<br /> <br /> 1. Chinese Medical Sage.<br /> <br /> 2. Changsha magistrate.<br /> <br /> 3. He treated patients for free on the first and fifteenth days of every lunar month.<br /> <br /> 4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.<br /> <br /> 5. Dumplings are derived from the recipe &quot; Cold Dispelling Jiaoer Soup&quot; developed by Zhang Zhongjing.<br /> <br /> --[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)<br /> <br /> ==Architecture, Qingming Riverside Landscape Garden-Zeng Liang 曾良 （major）202070080578==<br /> <br /> ===Introduction===<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, and covering an area of more than 600 acres, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the Northern Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park covering an area of more than 600 acresand showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the earlier Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and also, the first batch of 5A-level tourist attractions and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)(文件无效)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng as the capital of the Northern Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, People can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng, the capital of the earlier Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, people can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> There are eight functional zones including posthouse, folk custom, characteristic food street, demonstration of culture in Song Dynasty, flower, bird, fish, bug, prosperous capital, leisure and shopping, and integrated service, and four cultural zones including military drill ground, Rainbow Bridge, folk custom, and capital of Song Dynasty. The main architechtures of the garden include gate building, rainbow bridge, street view, stores, river channels, wharfs and ships. According to the original layout of ''Riverside Scene at Qingming Festival'', the garden presents the fabrications on site such as wine shops, teahouses, pawnshops, Bian (today’s Kaifeng) embroideries, official porcelains, and New Year paintings, gathers folk performance, vaudeville, and drum performance. (Gao Jing 2010,18)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050, and it was reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The Fuyun Pavillion is 31.99 meters high and it is the tallest building in the garden. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050 and reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The tallest building in the garden, the Fuyun Pavillion is 31.99 meters high. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> Every year, Qingming Riverside Landscape Garden will hold a series of cultural festivals, such as folk cultural festival of Song Dynasty, Qingming cultural festival, and chrysanthemum cultural festival. During the folk cultural festival of Song Dynasty, the scenic spot will gather unique folk performances across the country, such as flower-drum on the high platform, stilt, dragon dance, lion dance, small Henan opera. The international lantern exhibition is the highlight of folk cultural festival of Song Dynasty. A visual feast will be brought by auspicious tradition of Chinese Pavilion, the fresheness and refineness of Asian Pavilion, simplicity and fashion of European Pavilion, the quaint Buddhism of the Southeast Asia Pavilion, and the luxurious atmosphere of the African Pavillion. During the Qingming Festival, the garden will hold some Qingming cultural festivals to promote traditional festival culture. At that time, vistors can have an outing in spring, plant willion trees, watch folk customs, taste snacks, and enjoy the large-scale water live performances called ''“Luxuriant Dream of the East Capital of the Great Song Dynasty”.'' This event combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. Chrysanthemum cultural festival is another grand festivl in the garden, during which all kinds of chrysanthemums will be presented.The annual chrysanthemum festival in Kaifeng is held from October to November. Qingming Riverside Landscape Garden focuses on beautiful chrysanthemum plants, and makes full of architectures, sculptures, mountains, the surface of the water and association of activity and inertia to highlight the cultivated and creative skills of Kaifeng people. Chrysanthemums are changed into various shapes, which attracted thousands of visitors from all over the world. In the exhibition, visitors can enjoy and appreciate some species of chrysanthemum that are rarely seen in our daily life. (Zhang Lu 2013,24)<br /> <br /> There are vaious performances presented in the Qingming Riverside Landscape Garden, such as ''Luxuriant Dream of the East Capital of the Great Song Dynasty'', ''Baogong Salute to Guests'', ''Spitting Fire Show'', '''Cockfight''', ''Women’s Polo'' and so on. Among these formances, ''Luxuriant Dream of the East Capital of the Great Song Dynasty'' is a representative show of the garden. It is a large-scale live water performance produced by Qingming Riverside Landscape Garden. The performance is lasted for 70 minutes and is performed by more than 700 actors. It is a scroll about the heyday of the Northern Song Dynasty. The bustling scene of the Song Dynasty market, the prosperity of the capital of Bianliang(today’s Kaifeng), the mighty momentum of luxurious neighboring countries, the tragedy of wars, and the sustenance of blessings constitute a wash painting with a combination of noise and tranquility.(Gao Jing 2010,16)<br /> <br /> Ancient Chinese architectures and western architectures are different. The ancient architectures of China can be divided into palace architecure, religious architecture, mansion architecture and public architecture, which can be seen in the Qingming Riverside Landscape Garden. Compared with the Gothic architecture during the Middles Ages of the western Europe, the architecture of Song Dynasty shows a delicate and soft style, with complex forms of palaces, terraces, towers and pavilions, while Gothic archetecture is magnificent and exquisite. It has pointed vaults, which give people a visual impact and have a strong religious color.(Pang Runxin 2019,10)<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Qingming Riverside Landscape Garden'' 清明上河园<br /> <br /> ''Riverside Scene at Qingming Festival''《清明上河图》<br /> <br /> Rainbow Bridge虹桥<br /> <br /> Fuyun Pavillion浮云阁<br /> <br /> Shangshan Gate 上善门<br /> <br /> chrysanthemum菊花<br /> <br /> ''Baogong Salute to Guests''包公迎宾<br /> <br /> ''Spitting Fire Show''气功喷火<br /> <br /> ''Cockfight''斗鸡<br /> <br /> ''Women’s Polo''女子马球<br /> <br /> ''Luxuriant Dream of the East Capital of the Great Song Dynasty''《大宋·东京梦华》<br /> <br /> ===Questions===<br /> <br /> 1.What is the location of ''Qingming Riverside Landscape Garden''?<br /> <br /> 2.What’s the role of ''Qingming Riverside Landscape Garden'' in China?<br /> <br /> 3.When was ''Qingming Riverside Landscape Garden'' opened to the public?<br /> <br /> 4.Who is the painter of ''Piverside Scene at Qingming Festival''?<br /> <br /> 5.Which dynasty of the painting ''Qingming Riverside Landscape Garden'' present?<br /> <br /> 6.What does the name of ''Fuyun Pavilion'' mean?<br /> <br /> 7.What’s the characteristics of the performance of ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> 8.Can you please list some kinds of performance of ''Qingming Riverside Landscape Garden'' besides ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> ===Answers===<br /> <br /> 1.It is located on the west bank of ''Dragon Pavilion'' in Kaifeng, Henan Province.<br /> <br /> 2.In 2009, ''Qingming Riverside Landscape Garden'' was chosed as China’s first theme park in the style of the ancients by ''China World Records Association''. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s ''intangible cultural heritage exhibition base''. <br /> <br /> 3.It was officially opened to the public on October 28, 1998.<br /> <br /> 4.Zhang Zeduan.<br /> <br /> 5.Northern Song Dynasty.<br /> <br /> 6.The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map.<br /> <br /> 7.It combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. <br /> <br /> 8.''Baogong Salute to Guests'', ''Spitting Fire Show'', ''Cockfight'', ''Women’s Polo''.<br /> <br /> ===References===<br /> <br /> Chen Kang 陈康.(2006).《清明上河园》的精彩场景——贯木拱虹桥[Excellent Scenes of Qingming Riverside Landscape Garden——Wooden Arch Rainbow Bridge].集邮博览Philatelic Panorama(07)62-63.<br /> <br /> Gao Jing高静.(2010). 清明上河园——玩转宋文化[Qingming Riverside Landscape Garden—Fully Experience the Culture of Song Dyansty].光彩Brilliance(04)16-19.<br /> <br /> Li Mei李梅.(2007).清明上河园特色建设与长远发展[Distinctive Architecture of Qingming Riverside Landscape Garden nd its Long Development].合作经济与科技Co-operative Economyand Science(8)10-12.<br /> <br /> Pang Runxin庞润昕.(2019).《清明上河图》的建筑艺术[Architectural Art in Paintings of Riverside Scene Qingming Festival].景德镇陶瓷大学Jingdezheng Ceramic Institute(06)10-16.<br /> <br /> Wei Tuo韦陀.(2006).张择端之《清明上河图》[Riverside Scene at Qingming Festival Painted by Zhang Zeduan].紫禁城Forbidden City（Z2)13-15.<br /> <br /> Zhang Lu张璐.(2013).清明上河园与宋都文化传承创新研究[Inheritance and Innovation Research Study of “Qingming River” Song Dynasty Theme Park].赤峰学院学报Chi Feng College Journal(05)23-27.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:06, 12 December 2020 (UTC) (标点符号之间需要空格）--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_1&diff=112947 2020-12-16T06:41:34Z

<p>Sagara Seydou 3: /* Chinese Astrology - Alsied, Saffana */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Astrology - Alsied, Saffana==<br /> &quot;Chinese Astrology&quot;--[[User:SAFFANA ALSIED ,Student No:......... Major...........<br /> <br /> ===The History===<br /> <br /> So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the source is coming from ?<br /> <br /> ===The Five Elements And YIN/YANG===<br /> <br /> Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation please?<br /> <br /> A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?<br /> <br /> ===THE FORCES OF YIN / YANG===<br /> <br /> Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.<br /> <br /> A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?<br /> <br /> Chinese astrology was invented to achieve the two following goals;<br /> <br /> 1.) To predict the future,<br /> <br /> 2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise. <br /> <br /> According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?<br /> <br /> Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?<br /> <br /> The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?<br /> <br /> You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Chinese Astrology 中国占星学<br /> <br /> 2. Chinese Zodiac 中国十二生肖<br /> <br /> 3. Agricultural calendar 农业日历<br /> <br /> 4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）<br /> <br /> 5. The Oriental philosophy 东方哲学<br /> <br /> ===Questions===<br /> <br /> 1-Why was Chinese astrology invented?<br /> <br /> 2-How Chinese astrology relates to a person’s divine destiny?<br /> <br /> 3-What important role does the Chinese zodiac play in Chinese culture?<br /> <br /> 4- What is Chinese astrology based on?<br /> <br /> 5-Is Chinese astrology accurate?<br /> <br /> ===Answers===<br /> 1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.<br /> <br /> 2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.<br /> <br /> 3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.<br /> <br /> 4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.<br /> <br /> 5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> ===References===<br /> <br /> Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9<br /> <br /> 何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591<br /> <br /> Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.<br /> <br /> Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.<br /> <br /> &quot;&quot;Almanac&quot; &quot;lunar&quot; zodiac beginning of spring as the boundary dislocation? — China Network&quot;. 16 February 2009. Retrieved 5 January 2011.<br /> <br /> Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.<br /> <br /> &quot;Five Elements(Wu Xing)&quot;. YourChineseAstrology.com<br /> <br /> ==Spring Festival Couplets - Cao Runxin 曹润鑫==<br /> [[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]<br /> <br /> ===Spring Festival Couplets===<br /> Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).<br /> <br /> Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).<br /> <br /> The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).<br /> <br /> There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).<br /> <br /> ===References===<br /> <br /> *Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.<br /> *Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.<br /> *Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.<br /> *Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.<br /> <br /> <br /> ===Terms and Expressions ===<br /> Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 <br /> <br /> Paste 贴<br /> <br /> Horizontal scroll 横联<br /> <br /> Upper scroll 上联<br /> <br /> Lower scroll 下联<br /> <br /> ===Questions ===<br /> 1.What’s the purpose of pasting Spring Festival Couplets?<br /> <br /> To expresses people’s delight in the festival and wishes for a better life in the coming year.<br /> <br /> 2.What’s the historical origin of Spring Festival Couplets?<br /> <br /> It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.<br /> <br /> 3.How to read the Spring Festival Couplets?<br /> <br /> First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. <br /> <br /> 4.How to do with the Old Couplets?<br /> <br /> Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.<br /> <br /> ==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - Translation 英语笔译==<br /> <br /> [[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]<br /> <br /> ===Guzheng===<br /> <br /> ''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.<br /> <br /> There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).<br /> <br /> The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)<br /> <br /> [[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=古筝&amp;step_word=&amp;hs=0&amp;pn=27&amp;spn=0&amp;di=9900&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3246661627%2C3658564396&amp;os=3335747328%2C3552694810&amp;simid=0%2C0&amp;adpicid=0&amp;lpn=0&amp;ln=1718&amp;fr=&amp;fmq=1607348039297_R&amp;fm=result&amp;ic=&amp;s=undefined&amp;hd=&amp;latest=&amp;copyright=&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;gsm=1c&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]for original source.]]<br /> <br /> The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)<br /> <br /> Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several other schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)<br /> <br /> In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang played the ''guzheng'' to merge the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)<br /> <br /> From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.<br /> <br /> ===References===<br /> <br /> *Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.<br /> *Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.<br /> *Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. <br /> *Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.<br /> *Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.<br /> *Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.<br /> *Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.<br /> <br /> ===Terms and Expressions===<br /> <br /> *Meng Tian 蒙恬 <br /> *Zhao Lin 赵璘<br /> *''Records on Words'' 《因话录》<br /> *anterior mountain 前岳山 <br /> *posterior mountain 后岳山<br /> *''Yan Zhu'' 雁柱 <br /> *string pegs 弦钉<br /> *turning box 调音盒 <br /> *zither feet 琴足<br /> *paulownia 桐木 <br /> *mahogany 红木<br /> *''Dai Mao'' 玳瑁<br /> *''Yi Jia'' 义甲<br /> *''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹<br /> *''High Mountains and Running Water'' 《高山流水》<br /> *''The Autumn Moon in the Han Palace'' 《汉宫秋月》<br /> *''Jackdaw Playing in the Water'' 《寒鸦戏水》<br /> *''The Tune of Liu Qing Niang'' 《柳青娘》<br /> *Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香<br /> *Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望<br /> *''National Music Ceremony'' 《国乐大典》<br /> <br /> ===Questions===<br /> <br /> 1. What kind of musical instrument does the ''guzheng'' belong to?<br /> <br /> 2. Why the ''guzheng'' is deeply loved by Chinese? <br /> <br /> 3. Who is Meng Tian? <br /> <br /> 4. According to the legend, how did the ''se'' develop into the ''zheng''?<br /> <br /> 5. How many strings does the ''guzheng'' have? How long is the guzheng?<br /> <br /> 6. What is the function of movable bridges?<br /> <br /> 7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? <br /> <br /> 8. In ancient times, what materials were the fingerpicks made of?<br /> <br /> 9. Generally speaking, how does the players strike notes? <br /> <br /> 10. What styles can ''guzheng'' be divided into?<br /> <br /> 11. Which school does ''The Autumn Moon in the Han Palace'' belong to? <br /> <br /> 12. Do you know any other ''guzheng'' music? Please list some pieces.<br /> <br /> ===Answers===<br /> <br /> 1. It belongs to plucked stringed instruments.<br /> <br /> 2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. <br /> <br /> 3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.<br /> <br /> 4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. <br /> <br /> 5. It usually has 21 strings and is 163 centimeters long. <br /> <br /> 6. They are moved to change the timbres.<br /> <br /> 7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.<br /> <br /> 8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.<br /> <br /> 9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. <br /> <br /> 10. The Northern school and the Southern school.<br /> <br /> 11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.<br /> <br /> 12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).<br /> <br /> ==Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581==<br /> ===Facial makeup===<br /> <br /> Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)<br /> <br /> People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)<br /> <br /> The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)<br /> <br /> Red<br /> <br /> Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.<br /> <br /> Black<br /> <br /> Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.<br /> <br /> White<br /> <br /> White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.<br /> <br /> Blue<br /> <br /> Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.<br /> <br /> Purple<br /> <br /> Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.<br /> <br /> Golden<br /> <br /> Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).<br /> <br /> The features of facial makeup are mainly as follows:<br /> First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.<br /> It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.(Cao Juan, 2019, 61)<br /> <br /> ===B. Terms and Expressions===<br /> <br /> painted face 花脸<br /> <br /> clown 丑角<br /> <br /> Sheng 生<br /> <br /> Dan 旦<br /> <br /> Jing 净<br /> <br /> Chou 丑<br /> <br /> Qingyi 青衣<br /> <br /> xiaosheng 小生<br /> <br /> laosheng 老生<br /> <br /> wusheng 武生<br /> <br /> Gao Changgong 高长恭<br /> <br /> legend，romance 传奇剧<br /> <br /> Erlang Shen, Erlang 二郎神<br /> <br /> Tathagata, Buddha 如来佛<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Water Margin of the Marsh 水浒传<br /> <br /> ===C. Questions===<br /> <br /> 1.How many types are character roles divided into in Beijing opera?<br /> <br /> 2.What are the differences bbetween Sheng and Dan?<br /> <br /> 3.What are the special features of Chou?<br /> <br /> 4.What is the function of facial mask in Beijing opera?<br /> <br /> 5.What are the main features of facial makeup?<br /> <br /> 6.What are the characteristics of characters wearing blue facial makeup?<br /> ===Answers===<br /> 1.Four types:Sheng, Dan, Jing and Chou.<br /> <br /> 2.Sheng refers to male roles while Dan refers to female roles.<br /> <br /> 3.A patch of white powder is wiped on their nose.<br /> <br /> 4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. <br /> <br /> 5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.<br /> <br /> 6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly<br /> <br /> ===References===<br /> <br /> He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.<br /> <br /> Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.<br /> <br /> Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.<br /> <br /> ==Literature, Science Fiction and Fantasy - Dashkin, Gennadii - Student No.201911080001==<br /> === Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===<br /> <br /> <br /> Nowadays, modern literature is one of most interesting and gorgeous side of the worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that modern generation in the whole world prefer to read something about the future. Something, that can help to understand of what will be next. And that is why, one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broads our mind horizons.<br /> <br /> ====1.Liu Cixin（刘慈欣）====<br /> <br /> <br /> Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976).(Alexandra Alter,How Chinese Sci-Fi Conquered America 2019, 1)<br /> <br /> Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. <br /> <br /> Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written and naive and decided that he did not deserve publication.However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &quot;Supernova Era&quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence.(Liu Cixin, Supernova Era 2019,352)<br /> <br /> Liu's first books were warmly received in China, but nevertheless real success came to the author only in 2006, when he published the first part of his trilogy &quot;Memory of the Earth's Past&quot; - the novel &quot;The Problem of Three Bodies&quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &quot;The Three-Body Problem,&quot; although this is not formally true.<br /> <br /> In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.<br /> <br /> Liu Cixin is definitely a unique writer, with his own style, philosophy and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics, but also to science fiction literature.<br /> <br /> ====2.Chen Qiufan (陈楸帆） ====<br /> <br /> <br /> Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.<br /> <br /> Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.<br /> <br /> His debut book was ''The Empty Wave'', &quot;combining realism and allegory to represent the hybridity of humans and machines.&quot; Chen Qiufan's novels and stories won three Galaxy Awards, and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish and Russian.<br /> <br /> His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of the humanity progress.<br /> <br /> ====3.Rebecca F. Kuang (匡蘦秀)====<br /> <br /> <br /> When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.<br /> <br /> Quang grew up in Dallas, Texas and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.<br /> <br /> Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.<br /> <br /> Her debut novel, The Opium War, is a war fantasy set inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological and philosophical realities of China of the chosen era.<br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Science fiction - 科幻<br /> <br /> 2. Fantasy - 奇幻<br /> <br /> 3. Horizon - 地平线<br /> <br /> 4. Broad - 拓宽<br /> <br /> 5. Hybrid - 杂种<br /> <br /> 6. The plot - 情节<br /> <br /> 7. Garbage - 垃圾堆<br /> <br /> 8. Heyday - 壮年<br /> <br /> 9. Supernova - 超新星<br /> <br /> ===Questions===<br /> <br /> 1. What was the first book written by Liu Cixin?<br /> <br /> 2. What is the most popular trilogy of books written by Liu Cixin?<br /> <br /> 3. Who is called as Chinese William Gibson?<br /> <br /> 4. What is Rebecca Quang's Opium War plot based on?<br /> <br /> ===Answers===<br /> <br /> 1. Supernova Era<br /> <br /> 2. Memory of the Earth's Past<br /> <br /> 3. Chen Qiufan (陈楸帆）<br /> <br /> 4. The plot is largely based on the history of China in the middle of the 20th century.<br /> <br /> ===References===<br /> <br /> 1. Alexandra Alter,How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html<br /> <br /> 2. Liu Cixin, Supernova Era, 2019. 352 pp.<br /> <br /> 3. Chen Qiufan, Waste Tide, 2019. 342 pp.<br /> <br /> 4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.<br /> <br /> ==Stilts - Chen Yongxiang 陈永相 英语笔译 202070080582==<br /> [[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;fm=26&amp;gp=0.jpg] for original source.]]<br /> <br /> ===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===<br /> <br /> &lt;center&gt;Chen Yongxiang 陈永相 英语笔译 202070080582&lt;/center&gt;<br /> <br /> ====Introduction====<br /> <br /> Stilt is one of the folk dances of the Han nationality in our country, which is called &quot;Stilt Yangko&quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.<br /> <br /> As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &quot;Tongle Gaojiaohui&quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.<br /> <br /> The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who hold the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.<br /> <br /> Miliangtun Village Stilts as a renowned fair, known as the features of risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.<br /> <br /> There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilts is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.<br /> <br /> ====Terms and Expressions====<br /> <br /> Miliangtun (village name) 米粮屯<br /> <br /> stilts 高跷<br /> <br /> intangible cultural heritage 非物质文化遗产<br /> <br /> folk dance 民间舞蹈<br /> <br /> Toutou 陀头<br /> <br /> Laozuozi 老坐子 <br /> <br /> young boy 小二哥<br /> <br /> young master 公子<br /> <br /> Mr.Plaster 药先生<br /> <br /> Choupo 丑婆<br /> <br /> fisherman渔翁<br /> <br /> Yupo 渔婆 <br /> <br /> wood-cutter 柴翁<br /> <br /> handsome and ugly drum-players 俊鼓和丑鼓<br /> <br /> handsome and ugly gong-players 俊锣和丑锣<br /> <br /> ====Questions====<br /> <br /> 1. Where does Miliangtun Village Stilts originate?<br /> <br /> 2. How many years of history does Miliangtun Village Stilts have?<br /> <br /> 3. How many roles in Miliangtun Village Stilts?<br /> <br /> 4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?<br /> <br /> 5. How long is the shortest and the longest stilts?<br /> <br /> ====Answers====<br /> <br /> 1. Wangzuo Town, Fengtai District, Beijing.<br /> <br /> 2. More than 250 years.<br /> <br /> 3. 13.<br /> <br /> 4. In 2006.<br /> <br /> 5. The shortest stilt is two feet long, and the longest reaches over five feet.<br /> <br /> ====References====<br /> <br /> Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.<br /> <br /> Sun Miao 孙淼. (2018). &quot;一跷多艺&quot;: 胜芳高跷会的舞体表征与比较研究. [&quot;Multi-skills with one stilt&quot;: A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.<br /> <br /> https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin<br /> <br /> https://baijiahao.baidu.com/s?id=1643344511003907548&amp;wfr=spider&amp;for=pc<br /> <br /> <br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)<br /> <br /> ==Chinese Lion Dancing - Ding Daifeng 丁代凤==<br /> <br /> ===Introduction===<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.<br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)<br /> <br /> <br /> In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)<br /> <br /> ===Northern lion dancing===<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)<br /> <br /> ===Southern lion dancing===<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)<br /> <br /> Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)<br /> <br /> In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)<br /> <br /> ===Terms and Expressions===<br /> <br /> Western Regions 西域<br /> <br /> mount 坐骑<br /> <br /> Manjusri Bodhisattva 文殊菩萨<br /> <br /> gong 锣<br /> <br /> northern lion dancing 南狮<br /> <br /> southern lion dancing 北狮<br /> <br /> colorful silk ball 绣球<br /> <br /> wooden stakes 木桩<br /> <br /> spiritual resemblance神似<br /> <br /> Liu Bei lion 刘备狮<br /> <br /> Guan Gong lion 关公狮<br /> <br /> Zhang Fei lion 张飞狮<br /> <br /> sworn brothers 结义兄弟<br /> <br /> horse stances 马步<br /> <br /> Cai Qing 采青<br /> <br /> lettuces 生菜<br /> <br /> ===Questions===<br /> <br /> 1. How long is the history of lion dance in China?<br /> <br /> 2. Why did people gradually accept lion as a sacred animal?<br /> <br /> 3. Why did people use lion dance to celebrate the New Year?<br /> <br /> 4. What is the main difference between southern lion dancing and northern lion dancing?<br /> <br /> 5. What is the center of southern lion dancing?<br /> <br /> 6. How many colors are there in the heads of southern lions? And what are they?<br /> <br /> 7. What is “Cai Qing”? And what do you know about “Cai Qing”?<br /> <br /> ===Answers===<br /> <br /> 1. It is with a history of about 2000 years.<br /> <br /> 2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.<br /> <br /> 3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.<br /> <br /> 4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.<br /> <br /> 5. It is in southern China’s Guangdong province.<br /> <br /> 6. The head of southern lion has three colors, namely black, red and yellow.<br /> <br /> 7. It means &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming.<br /> <br /> ===References===<br /> <br /> Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.<br /> <br /> Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.<br /> <br /> Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.<br /> <br /> Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.<br /> <br /> ==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==<br /> ===A. The Eight Tang-Song Prose Masters===<br /> [[File:Tang Song Ba Da Jia.jpg]]<br /> <br /> ===Brief Introduction of The Eight Tang-Song Prose Masters===<br /> <br /> The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &quot;Ancient Prose Movement&quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25） <br /> In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)<br /> <br /> '''1. Han Yu'''<br /> [[File:Han Yu.jpg]]<br /> <br /> Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)<br /> Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)<br /> <br /> '''2. Liu Zongyuan'''<br /> [[File:Liu Zongyuan.jpg]]<br /> <br /> Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &quot;Liu Hedong &quot;, &quot; Mr. Hedong &quot;, also known as&quot; Liu Liuzhou &quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor .<br /> He was juxtaposed with Han Yu as &quot;Han Liu &quot;, with Liu Yuxi as &quot; Liu Liu &quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &quot;Wang Meng Wei Liu &quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &quot;Liu He Dong Colloection&quot; was one of his representatives. (Zhou Zhenfu 2016, 26)<br /> He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)<br /> <br /> '''3. Ouyang Xiu'''<br /> [[File:Ouyang Xiu.jpg]]<br /> <br /> Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.<br /> Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.<br /> Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)<br /> <br /> '''4. Su Xun'''<br /> [[File:Su Xun.jpg]]<br /> <br /> Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.<br /> Su Xun was a man of political ambition. He said that the main purpose of his works was &quot;to speak for the world &quot;, to&quot; apply to the present &quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)<br /> <br /> '''5. Su Shi'''<br /> [[File:Su Shi.jpg]]<br /> <br /> Su Shi, with a fame as &quot; Dongpo Jushi &quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .<br /> Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &quot;Han Chao Su hai&quot; with Han Yu in the prose area, &quot;Ou Su&quot; with Ouyang Xiu, &quot;Su Huang&quot; with Huang Tingjian, and &quot;Su Xin&quot; with Xin Qiji in the Ci area, so he was called &quot;the first all-round talent in ancient China&quot;.(Zhou Zhenfu 2016, 28)<br /> Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &quot;creating for certain purposes&quot;, advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.<br /> <br /> '''6. Su Zhe'''<br /> [[File:Su Zhe.jpg]]<br /> <br /> Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch.<br /> Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &quot;literary style&quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &quot;Ode to Ink bamboo&quot;.(Zhou Zhenfu 2016, 29)<br /> <br /> '''7. Wang Anshi'''<br /> [[File:Wang Anshi.jpg]]<br /> <br /> Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .<br /> Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)<br /> <br /> '''8. Zeng Gong'''<br /> [[File:Zeng Gong.jpg]]<br /> <br /> Zeng Gong was known as &quot;Mr. Nan Feng&quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &quot;eight masters&quot; of the Tang and Song Dynasties, he was also one of the &quot;Seven Zengs of Nanfeng&quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.<br /> <br /> '''9. Comparison between the Ancient Prose Movement and Renaissance'''<br /> Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)<br /> <br /> Comparison in ideology:<br /> The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.<br /> <br /> Comparison in writing style:<br /> The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)<br /> <br /> Comparison in literary form:<br /> The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&quot; Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)<br /> <br /> ===B. Terms and Expressions===<br /> The Eight Tang-Song Prose Masters 唐宋八大家<br /> <br /> Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》<br /> <br /> Ancient Prose Movement 古文运动<br /> <br /> parallel prose 骈文<br /> <br /> The Decline of Eight Generations 文起八代之衰<br /> <br /> The Article Giant 文章巨公<br /> <br /> Admired Literate of One Hundred Generations 百代文宗<br /> <br /> Han Changli Collection 《韩昌黎集》<br /> <br /> External collection 《外集》<br /> <br /> The Teacher's Theory《师说》<br /> <br /> Pre-Qin and Han Dynasties 先秦两汉时期<br /> <br /> writing in classical Chinese 文言文<br /> <br /> feudal provincial of Liuzhou 柳州刺史<br /> <br /> official supervisor of imperial censor 监察御史<br /> <br /> Liu He Dong Colloection 《柳河东集》<br /> <br /> Northern Song Dynasty 北宋<br /> <br /> a thousand volumes of collections of inscriptions 金石遗文一千卷<br /> <br /> Xia, Shang, Zhou Dynasties 三代<br /> <br /> the crown of that time 一时之冠<br /> <br /> Southern Tang Dynasty 南唐<br /> <br /> Yu Feng 余风<br /> <br /> The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》<br /> <br /> the Northern Song Dynasty poetry innovation movement北宋诗文革新运动<br /> <br /> Heng Lun 《衡论》<br /> <br /> Duke Jingguo 荆国公<br /> <br /> The Book to the Emperor 《上皇帝书》<br /> <br /> Dongpo Jushi 东坡居士<br /> <br /> Ci writer 词人<br /> <br /> Unconstrained Ci School豪放派<br /> <br /> literary and artistic attainments 文学艺术造诣<br /> <br /> the first all-round talent in ancient China 中国古代第一全才<br /> <br /> Su Men Four bachelors 苏门四学士<br /> <br /> the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》<br /> <br /> The New Theory《新论》<br /> <br /> On the Six Kingdoms 《六国论》<br /> <br /> Ode 赋<br /> <br /> The Ode to Ink bamboo 《墨竹赋》<br /> <br /> Seven Zengs of Nanfeng 南丰七曾<br /> <br /> the doctrine before the text先道后文<br /> <br /> the Book to Ouyang She Ren 《上欧阳舍人书》<br /> <br /> the Book to Bachelor Cai 《上蔡学士书》<br /> <br /> the Six Dynasties 六朝<br /> <br /> ===C. Questions===<br /> 1.Who are the pioneers of the Ancient Prose Movement?<br /> <br /> 2.Which kind of prose they advocate in the Ancient Prose Movement?<br /> <br /> 3.Do you know any representatives of Liu Zongyuan?<br /> <br /> 4.Why Ouyang Xiu is called &quot;Liu Yi Scholar&quot;?<br /> <br /> 5.What’s the relationship among Su Xun, Su Shi and Su Zhe?<br /> <br /> 6.Who are the &quot;Seven Zengs of Nanfeng&quot;?<br /> <br /> 7.Do you know any about the Renaissance?<br /> <br /> ===D. Answers===<br /> <br /> 1.Han Yu and Liu Zongyuan.<br /> <br /> 2.The prose of Pre-Qin and Han Dynasties.<br /> <br /> 3.The &quot;Liu He Dong Colloection&quot;.<br /> <br /> 4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.<br /> <br /> 5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.<br /> <br /> 6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> <br /> 7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.<br /> <br /> ===References===<br /> Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.<br /> <br /> Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.<br /> <br /> He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.<br /> <br /> Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.<br /> <br /> Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).<br /> <br /> Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.<br /> <br /> Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.<br /> <br /> ==Music, Instruments, Pipa - Gao Mingzhu 高明珠==<br /> [Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu<br /> <br /> '''1. A Brief Introduction'''<br /> <br /> Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&quot; and &quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)<br /> <br /> '''2.The Development of Pipa'''<br /> <br /> The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)<br /> <br /> During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one kind playing skill in playing pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16) <br /> <br /> There was only one kind playing skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from small to popular. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> '''3.Pipa Schools and Their Chracteristics'''<br /> <br /> The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)<br /> <br /> (1)The Wuxi school<br /> <br /> The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)<br /> <br /> (2)The Pinghu school<br /> <br /> The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as &quot; paired butterfly flying&quot; .(Deng Sijia 2020,10)<br /> <br /> (3)The Pudong School <br /> <br /> Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)<br /> <br /> (4)The Chongming school<br /> <br /> The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)<br /> <br /> (5)The Shanghai school<br /> <br /> This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)<br /> <br /> '''4.Traditional Pipa Music'''<br /> <br /> Traditional pipa music can be divided into military songs, literary songs and military-literary songs.<br /> <br /> Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are &quot;Ambush on All Sides&quot;, &quot;Bury Me High&quot;, &quot;Hai Qing Hunting the Swan&quot;, &quot;General Order in the Han Dynasty&quot;. [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)<br /> <br /> Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; and so on.<br /> <br /> Military-literary song is the combination of martial song and literary song. The representative songs are &quot;The Spring Snow&quot;, &quot;High Mountain and Flowing Water&quot;, &quot;Dragon Boat&quot;, &quot;Flute and Drum at Sunset&quot; and so on.<br /> <br /> '''5.Refferences''' [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> [1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020<br /> <br /> [2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.<br /> <br /> [3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.<br /> <br /> [4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.<br /> <br /> [Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> '''6.Terms and Expressions'''<br /> <br /> 弹拨乐器—plucked instruments<br /> <br /> 汉化—Chinesization<br /> <br /> 套曲—divertimentoes<br /> <br /> 游牧民族—nomad tribe<br /> <br /> 宫廷乐—court music<br /> <br /> 轮指法—tremolo<br /> <br /> 音色—timbre<br /> <br /> 曲目—repertoire<br /> <br /> 并弦—parallel string<br /> <br /> 指法—fingering techniques<br /> <br /> '''7.Questions'''<br /> <br /> 1、How many stages did pipa go through during its development?<br /> <br /> 2、What characteristics did pipa have during Wei and Jin dynasties?<br /> <br /> 3、What changes had been made to pipa during Ming and Qing dynasties?<br /> <br /> 4、How many schools does pipa have and what are they?<br /> <br /> 5、Can you list at least 3 representative repertoires of literary songs played by pipa? <br /> <br /> '''8.Answers'''<br /> <br /> 1、Four.<br /> <br /> 2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.<br /> <br /> 3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. <br /> <br /> 4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school. <br /> <br /> 5、&quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; .<br /> <br /> [Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> ===Terms and Expressions===<br /> ===xxx===<br /> <br /> ==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001== Major.................<br /> === Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === <br /> <br /> The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?<br /> <br /> '''1. Huli-jing (狐狸精) in China'''<br /> <br /> First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.<br /> <br /> People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.<br /> <br /> Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.<br /> <br /> The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.<br /> <br /> Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.<br /> A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &quot;Good Hunt&quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.<br /> <br /> In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &quot;Painted Skin (畫皮)&quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.<br /> <br /> In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.<br /> <br /> Quite a lot of information about werewolf foxes can be obtained from the TV series &quot;The Legend of the Nine-Tailed Fox&quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.<br /> <br /> Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.<br /> <br /> The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.<br /> <br /> '''2. Kitsune (キツネ) in Japan''' <br /> <br /> In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&quot;Fox-messenger&quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.<br /> <br /> Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.<br /> <br /> Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.<br /> <br /> A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. <br /> <br /> '''3. Kumiho (구미호) in Korea'''<br /> <br /> Kumiho - (구 &quot;ku&quot; - nine, 미 &quot;mi&quot; - tail, 호 &quot;ho&quot; - fox - &quot;fox with nine tails&quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.<br /> <br /> In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> Shape shifter – 成精<br /> <br /> Creature –生物<br /> <br /> Seductive –诱人的<br /> <br /> Damnation –诅咒<br /> <br /> Metaphor –隐喻<br /> <br /> Ascribe –属性<br /> <br /> Indigenous –土着<br /> <br /> Deity – 反面人物<br /> <br /> Liver – 肝脏<br /> <br /> ===References===<br /> <br /> 1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.<br /> <br /> 2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.<br /> <br /> 3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.<br /> <br /> ===Questions===<br /> <br /> 1. What was the attitude towards the Huli Jing in Ancient China?<br /> <br /> 2. Can we characterize Kitsune as a positive or negative character?<br /> <br /> 3. Could Kumiho become human forever?<br /> <br /> ===Answers===<br /> <br /> 1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.<br /> <br /> 2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.<br /> <br /> 3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.<br /> References ..................<br /> <br /> ==Chinese Characters - Gu Dongfang 顾东方==<br /> Chinese Characters<br /> <br /> ===Origin===<br /> <br /> Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）<br /> <br /> ===Evolution of Chinese characters===<br /> [[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]<br /> Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)<br /> <br /> ===Ancient Chinese characters===<br /> <br /> ====Oracle bone script====<br /> <br /> Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).<br /> <br /> ====Bronze script====<br /> <br /> In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.<br /> <br /> ====Seal script====<br /> Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. <br /> The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.<br /> <br /> ===Modern characters===<br /> ====Clerical script====<br /> <br /> After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.<br /> From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.<br /> <br /> ====Regular script====<br /> <br /> Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.<br /> <br /> ===Formation of Chinese characters===<br /> <br /> ====Pictograms====<br /> <br /> Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &quot;sun,&quot; 月 (yuè) for &quot;moon,&quot; and 木 (mù) for &quot;tree.&quot;<br /> <br /> ====Pictophonetic compounds====<br /> <br /> Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.<br /> <br /> ====Ideograph ====<br /> <br /> Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &quot;knife,&quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &quot;blade.&quot; Other common examples are 上 (shàng) for &quot;up&quot; and 下 (xià) for &quot;down.&quot; This category is small, as most concepts can be represented by characters in other categories.<br /> <br /> ====Logical aggregates====<br /> <br /> Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light.<br /> <br /> ====Associate transformation====<br /> <br /> Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &quot;elderly person,&quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.<br /> <br /> ====Borrowing ====<br /> <br /> Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)<br /> <br /> ===Simplification of Chinese characters===<br /> <br /> The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)<br /> <br /> ===Terms and expressions===<br /> <br /> 1.Oracle Bone Inscriptions  甲骨文<br /> <br /> 2.Bronze Inscriptions 金文<br /> <br /> 3.Small seal characters 小篆<br /> <br /> 4.Official script 隶书<br /> <br /> 5.Regular script 楷书<br /> <br /> 6.Cursive writing 草书<br /> <br /> 7.Cang Jie 仓颉<br /> <br /> <br /> 8.Clerical script 楷书<br /> <br /> 9.Su Shi 苏轼<br /> <br /> 10. Wang Xizhi 王羲之<br /> <br /> 11.Ou Yangxun 欧阳询<br /> <br /> 12.Yan Zhenqing 颜真卿<br /> <br /> 13.Pictograms 象形<br /> <br /> 14. Pictophonetic compounds 指事<br /> <br /> 15.Ideograph 会意<br /> <br /> 16.Logical aggregates 形声<br /> <br /> 17.Associate transformation 转注<br /> <br /> 18.Borrowing 假借<br /> <br /> ===Question===<br /> 1.How many Chinese characters are there?<br /> <br /> 2.How many letters are in the Chinese alphabet?<br /> <br /> 3. How many formations of Chinese characters? What are they?<br /> <br /> ===Answers===<br /> 1. According to the latest statics, there are nearly 91251 Chinese characters recorded .<br /> <br /> 2. There are 26 letters in Chinese alphabet.<br /> <br /> 3. Six formations are included in Chinese characters system, and they are Pictograms<br /> Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing<br /> <br /> ===References===<br /> <br /> 1.王显春. 汉字的起源[M]. 学林出版社, 2002.<br /> <br /> 2.刘又辛. &quot;关于汉字发展史的几个问题(上).&quot; 语文建设 12(1998):34-37.<br /> <br /> 3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188<br /> <br /> 4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.<br /> <br /> ==Chinese Knots - Guan Qinqing 管钦清==<br /> <br /> ===A.Chinese Knots===<br /> <br /> ====1.A Brief Introduction about Chinese Knots====<br /> <br /> The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It <br /> <br /> originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.<br /> <br /> The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.<br /> <br /> The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and <br /> <br /> personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which <br /> <br /> earned the knot its name.<br /> <br /> ====2.The Classification of Chinese Knots====<br /> <br /> There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥<br /> <br /> 结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井<br /> <br /> 结）,Cross Knot(十字结） and Ping Knot（平结）.<br /> <br /> Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. <br /> <br /> =====2.1.The Double Coin Knot=====<br /> <br /> Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views <br /> <br /> on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only <br /> <br /> represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &quot;luck money&quot;. Therefore, for <br /> <br /> the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes <br /> <br /> &quot;good things come in pairs&quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful <br /> <br /> patterns, such as clouds and Perfect Knots，etc.<br /> <br /> =====2.2.The Good Luck Knot=====<br /> <br /> As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.<br /> <br /> And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.<br /> <br /> =====2.3.The Pan Chang Knot=====<br /> <br /> Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the <br /> <br /> avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is <br /> <br /> often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.<br /> <br /> ====3.The Knitting Method of Chinese Knots====<br /> <br /> The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.<br /> <br /> The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.<br /> <br /> ====4.The Cultural Connotations of Chinese Knots====<br /> <br /> Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of <br /> <br /> rope and thread.In Chinese， &quot;rope&quot; (绳）and &quot;god&quot; （神）are homophonic, so the Chinese nation has a worship of &quot;rope&quot;. In addition, Chinese people are descendants of <br /> <br /> dragons.Because the shape of &quot;rope&quot; is like a winding dragon, people also regard &quot;rope&quot; as a symbol of dragon. Chinese people also have their own unique understanding of <br /> <br /> &quot;knot&quot;, which means reunion and happiness. Many of the Chinese words composed of &quot;结&quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交<br /> <br /> （making friends), and 永结同心（tie the knot),etc. &quot;结&quot;(knot) is also homonymous with &quot;吉&quot;（ausipiciousness), so people even think that &quot;knot&quot; is a symbol of good luck.<br /> <br /> ====5.Comparisons between Chinese Knots and Cross Necklaces====<br /> <br /> =====5.1.Different Cultural Connotations=====<br /> <br /> From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of <br /> <br /> Christianity. The cross, derived from the Latin &quot;crux&quot;, means &quot;fork&quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient <br /> <br /> Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross <br /> <br /> ornaments in the west as cross necknaces are usually used to represent love and salvation.<br /> <br /> =====5.2.Different Shapes=====<br /> <br /> Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have <br /> <br /> different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.<br /> <br /> ====6.References====<br /> <br /> 李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.<br /> <br /> 李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.<br /> <br /> 许星.路论中国结[J].丝绸,2004(02) : 46-47.<br /> <br /> 邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.<br /> <br /> 王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.<br /> <br /> ===B. Terms and Expressions===<br /> <br /> Double Coin Knot 双钱结<br /> <br /> Good Luck Knot 吉祥结<br /> <br /> Chinese Button Knot 纽扣结<br /> <br /> Sauvastika Knot 万字结<br /> <br /> Oxalis Knot 酢浆草结<br /> <br /> Pan Chang Knot 盘长结<br /> <br /> Round Brocade Knot 团锦结<br /> <br /> Caisson Celling Knot 藻井结<br /> <br /> Cross Knot 十字结<br /> <br /> Ping Knot 平结<br /> <br /> tie the knot 永结同心<br /> <br /> luck money 压岁钱<br /> <br /> the bishop's identity 主教职权<br /> <br /> ===C. Questions===<br /> <br /> 1. What is the Chinese knot?<br /> <br /> 2. Do you know the names of the main Chinese knots? What are they?<br /> <br /> 3. What do &quot;绳&quot; and &quot;结&quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> ==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==<br /> <br /> [[File:Chinese Mythology.jpg|thumb|right|Panku]]<br /> <br /> ===Introduction===<br /> <br /> The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.<br /> <br /> ===A. Panku Created the World===<br /> <br /> In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).<br /> <br /> At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 &quot;li&quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).<br /> Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.<br /> <br /> ===B. NuWa Created Human Beings===<br /> <br /> [[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]<br /> <br /> Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).<br /> <br /> As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.<br /> <br /> During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.<br /> <br /> ===C. Fushi Taught the People=== <br /> <br /> In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .<br /> <br /> Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &quot;trigrams&quot;, in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This &quot;trigrams&quot; was also a mean to interpret future and consult oracle about the right ways to follow.<br /> <br /> Finally, Fushi gave his last gift (music) in order people can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &quot;pipa&quot; (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history. Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. <br /> <br /> ===D. Water War===<br /> <br /> Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as a very big giants with different shapes, Gong shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).<br /> <br /> Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).<br /> <br /> In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.<br /> <br /> ===E. Terms and Expressions===<br /> <br /> Chinese Mythology 中国神话<br /> <br /> Panku 盤古<br /> <br /> Yin/Yang 陰陽 / 阴阳<br /> <br /> Nuwa 女媧<br /> <br /> Fushi 伏羲<br /> <br /> Water War 水战<br /> <br /> ===F. Questions===<br /> <br /> 1. Why an egg a good symbol for the beginning of the world?<br /> <br /> 2. Why Nuwa decided to create human beings?<br /> <br /> 3. What did Fushi taught to people?<br /> <br /> 4. What was the cause of Gong and Zurong’s war and who won?<br /> <br /> ===G. Answers===<br /> <br /> 1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.<br /> <br /> 2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.<br /> <br /> 3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.<br /> <br /> 4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.<br /> <br /> ===References===<br /> <br /> 1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.<br /> <br /> 2. Irene Dea Collier. (2001). &quot;Chinese Mythology&quot;. Library of Congress Cataloging-in-Publication Data.<br /> <br /> 3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg<br /> <br /> 4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)<br /> <br /> ==Gods and Immortals - Gui Yizhi 桂一枝==<br /> <br /> ===Chinese gods and immortals===<br /> <br /> ====Chinese mythology system====<br /> <br /> Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.<br /> <br /> Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.<br /> <br /> The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).<br /> <br /> Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &quot;Way&quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.<br /> <br /> At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &quot;most widely beloved Buddhist Divinity&quot; with miraculous powers to assist all those who pray to her.<br /> <br /> ====神 shén, 帝 dì and 仙 xiān====<br /> <br /> Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. dì, sometimes translated as &quot;thearch&quot;, implies a manifested or incarnate &quot;godly&quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.<br /> <br /> ====Eight immortals====<br /> <br /> The Eight Immortals are a group of legendary xian (&quot;immortals&quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &quot;Covert Eight Immortals&quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.<br /> <br /> The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism. <br /> <br /> The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &quot;The Eight Immortals cross the sea, each reveals its divine powers&quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.<br /> <br /> ===Terms and Expressions===<br /> <br /> immortals 仙 <br /> <br /> mythology 神话，神话学<br /> <br /> cosmology 宇宙论，宇宙观 <br /> <br /> monolithic 整体（式）的<br /> <br /> the Battle of Zhuolu 涿鹿之战<br /> <br /> pantheistic 泛神论的 <br /> <br /> polytheistic 多神论的<br /> <br /> Three Pure Ones 三清<br /> <br /> anthropomorphic 人格化的<br /> <br /> tutelary 守护神 <br /> <br /> deity 神<br /> <br /> Buddha 佛 <br /> <br /> Shakyamuni 释迦牟尼<br /> <br /> Amitabha 阿弥陀佛 <br /> <br /> Amitāyus 无量寿佛<br /> <br /> celestial 天的 <br /> <br /> Bodhisattva 菩萨 <br /> <br /> Pure Land 极乐世界 <br /> <br /> vessels 法器<br /> <br /> Covert Eight Immortals 暗八仙 <br /> <br /> Taoist 道家的，道士<br /> <br /> ===Questions===<br /> <br /> 1. What are the topics of the Ancient mythology?<br /> <br /> 2. What are the differences among shén, dì and xiān?<br /> <br /> 3. What do the Eight immortals represent respectively?<br /> <br /> ===Answers===<br /> 1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.<br /> <br /> 2. shén and dì corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> 3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.<br /> <br /> ===References===<br /> <br /> [1]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.pp11-12<br /> <br /> [2]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.pp.63-67 <br /> <br /> [3]柏杨．中国人史纲：时代文艺出版社，1987.pp. 34-40<br /> <br /> [4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear &amp; Company.pp.27-28 <br /> <br /> [5]Buddhism, the Fulfilment of Hinduism P37<br /> <br /> [6]胡亚楠. 从神到仙：先秦时期神仙信仰的形成因素研究[D].哈尔滨师范大学,2020.<br /> <br /> [7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.pp. 200-201<br /> <br /> [8]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [9]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [10]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago. pp. 313, 319–334.<br /> <br /> ==Literature, Tang and Song - Guo Lu 郭露 202070080588==<br /> <br /> ===Classical Prose Movement of late Tang Dynasty and Song Dynasty===<br /> <br /> ====Introduction====<br /> <br /> “The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its deep.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)<br /> <br /> ====Development====<br /> <br /> The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)<br /> <br /> However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)<br /> <br /> After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) <br /> <br /> ====Representatives====<br /> <br /> '''1.Han Yu'''<br /> <br /> Han Yu (768 – 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &quot;Eight Great Prose Masters of the Tang and Song&quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)<br /> <br /> Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)<br /> <br /> '''2.Liu Zongyuan'''<br /> <br /> Liu Zongyuan (773 – 819), courtesy name Zihou, also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese literature, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &quot;Jiangxue&quot;. (Yang Shengli 2020, 42-44)<br /> <br /> '''3.Ouyang Xiu'''<br /> <br /> Ouyang Xiu (1007 – 1072), courtesy name Yong Shu, also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)<br /> <br /> Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)<br /> <br /> Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)<br /> <br /> ====Masterworks====<br /> <br /> Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)<br /> <br /> ====Influence====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)<br /> <br /> ====Terms and Expressions====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家<br /> <br /> Classical Prose Movement 古文运动<br /> <br /> ''Eight Records of Excursions in Yongzhou'' 《永州八记》<br /> <br /> ''On Teachers'' 《师说》<br /> <br /> ''New Book of Tang'' 《新唐书》<br /> <br /> ''Historical Records of the Five Dynasties'' 《新五代史》<br /> <br /> ''Zuiweng Tingji'' 《醉翁亭记》<br /> <br /> ''Shang Zhongyong'' 《伤仲永》<br /> <br /> ''On Jia Yi'' 《贾谊论》<br /> <br /> ''First Ode to the Red Cliff'' 《赤壁赋》<br /> <br /> ====Questions====<br /> <br /> 1. Who were the first promoters of the Classical Prose Movement?<br /> <br /> 2. What does the Classical Prose Movement mean?<br /> <br /> 3. What's political and religious purposes of the Classical Prose Movement?<br /> <br /> ====Answers====<br /> <br /> 1. The first promoters of this movement were Han Yu and Liu Zongyuan.<br /> <br /> 2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.<br /> <br /> 3. The reason what Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.<br /> <br /> ====References====<br /> <br /> Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.<br /> <br /> Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.<br /> <br /> Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.<br /> <br /> Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.<br /> <br /> Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.<br /> <br /> Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.<br /> <br /> Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.<br /> <br /> ==The tradition of Red envelope and Lucky money - Ha, Thi Thu Hang - 201921080008==<br /> <br /> ===The Chinese Red Envelope and Lucky money tradition===<br /> <br /> In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.<br /> <br /> ====The Legend====<br /> <br /> In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> <br /> One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> There are also other legends about this custom related to the son Duong Quy Phi of the Tang dynasty - China and the Qin dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.<br /> <br /> ====The tradition====<br /> <br /> The Chinese custom of lucky money is called &quot;Hongbao&quot;. Chinese people really like red, so the lucky money is always red, symbolizing luck and happiness. The red envelope is called yasui qian (压岁钱 /Yāsuìqián/), which means &quot;suppressing ghosts money&quot;. Those who receive a red envelope are wished another safe and pea Sending red envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese lucky money must avoid the number 4 and be sealed. The children, after receiving the lucky money, do not open it immediately, but have to put it all under the pillow after about a week to open it, it is impolite to open a red envelope in front of the person who gives it to you. The meaning of this is for the lucky money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese lucky money.<br /> <br /> Red envelopes, also called red packets, lucky money, or &quot;hongbao&quot; in Chinese, &quot;li shi&quot; / &quot;li xi&quot; in Vietnamese are a popular monetary gift given on some important occasions or festivals in China, Vietnam, Korea, Japan, some other Asian countries, especially widely seen during the Chinese New Year (Spring Festival). During Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into.<br /> <br /> ====Outside of China====<br /> <br /> The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent.<br /> <br /> Each country has different ways of lucky money and changes over time, but the basic custom of lucky money is to want to send wishes of peace to all relatives and friends in the new year.<br /> In Vietnam, the Lunar New Year is one of the great holidays of the year. The traditional New Year's customs are still preserved, in which the lucky money is typical. On the first day of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give lucky money to the children with the message of good luck, good care and good study. Today, the tradition of lucky money in Vietnam is also expanded in the direction that children give lucky money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.<br /> <br /> In Japan, lucky money is called Otoshidama. Unlike other countries, the amount of Japanese lucky money depends on the child's age, the relationship of the family. Otoshidama red envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese red envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the lucky money will be written on the red envelope to show respect for the recipient. The message of each Otoshidama red envelopes is a wish for a warm, peaceful and lucky new year.<br /> <br /> In Korea, the lucky money is called Sabae. On New Year's Day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive lucky money together with wishes for health and peace in the new year. The lucky money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems...<br /> <br /> ===Terms and Expressions===<br /> Luckymoney 利市 /Lì shì/ <br /> <br /> Red envelope 紅包 /Hóngbāo/ <br /> <br /> Confucianism 儒教 /Rújiào/ <br /> <br /> Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/<br /> <br /> ===Questions===<br /> <br /> 1. Do you know the origin of giving Lunar new year lucky money to children？<br /> <br /> ===Answers===<br /> <br /> 1. In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> ===References===<br /> https://en.wikipedia.org/wiki/Red_envelope [https://en.wikipedia.org/wiki/Red_envelope]<br /> <br /> ==Calendar, The 24 Solar Terms - He Changqi 何长琦==<br /> ==='''The Twenty-four Solar Terms'''===<br /> <br /> ===1. The orgin and development of the twenty-four solar terms===<br /> <br /> “The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）<br /> <br /> ===2. The definition and classification of the twenty-four solar terms===<br /> <br /> “The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. <br /> A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate. The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.<br /> (Yuan Jixi 2016:)<br /> <br /> ===3.Folklore of the 24 solar terms===<br /> <br /> The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the &quot;whipping of the spring bull&quot; at the beginning of spring and the &quot;tailing festival&quot; at the end of the cold season. Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &quot;the unity of heaven and man, in accordance with the four seasons&quot;, the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. <br /> <br /> These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &quot;biting the spring&quot; on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)<br /> <br /> ===4.Importance and values===<br /> <br /> ===4.1 Importance in ancient times===<br /> <br /> The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. The 24 solar terms have played an important role in the life and work of traditional Chinese people.<br /> Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that &quot;if the agricultural time is not violated, there will be sufficient grain supply.&quot; (Mencius - Liang Huiwang). Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives. For example, the &quot;Four Beginnings&quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)<br /> <br /> ===4.2 Values in modern society===<br /> <br /> In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation. It still has its practical values in modern society.<br /> Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture. Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature. Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)<br /> <br /> ===Terms and Expressions===<br /> <br /> the Beginning of Spring 立春<br /> <br /> Beginning of Autumn 立秋<br /> <br /> Rain Water 雨水 <br /> <br /> End of Heat 处暑<br /> <br /> Insects Awakening 惊蛰 <br /> <br /> White Dew 白露<br /> <br /> Spring Equinox 春分 <br /> <br /> Autumnal Equinox 秋分<br /> <br /> Fresh Green 清明 <br /> <br /> Cold Dew 寒露<br /> <br /> Grain Rain 谷雨 <br /> <br /> First Frost 霜降 <br /> <br /> Beginning of Summer 立夏 <br /> <br /> Beginning of Winter 立冬<br /> <br /> Lesser Fullness 小满 <br /> <br /> Light Snow 小雪<br /> <br /> Grain in Ear 芒种 <br /> <br /> Heavy Snow 大雪<br /> <br /> Summer Solstice 夏至<br /> <br /> Winter Solstice 冬至<br /> <br /> Lesser Heat 大暑<br /> <br /> Lesser Cold 小寒<br /> <br /> Greater Heat 立春 <br /> <br /> Greater Cold 大寒<br /> <br /> ===Questions===<br /> 1.1.What are the first four solar terms measured by ancient Chinese people?<br /> <br /> 2.Where does the 24 solar terms originate from?<br /> <br /> 3. What are the eight solar terms that reflect seasonal changes？<br /> <br /> 4.When was included in the World Intangible Cultural Heritage List? <br /> <br /> 5.What are the food customs in the Beginning of Spring?<br /> <br /> 6.Do you konw any other folklore of the 24 solar terms?<br /> ===Answers===<br /> 1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.<br /> <br /> 2.It originated in the Yellow River valley.<br /> <br /> 3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice<br /> <br /> 4.In 2016.<br /> <br /> 5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.<br /> <br /> 6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the &quot;Sage of Medicine&quot;, invented the &quot;jiaozi&quot; to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as &quot;dumpling&quot; or jiaozi. Today there is still a saying that goes &quot;Eat dumplings on Start of Winter Day, or your ears will be frostbitten.&quot;<br /> <br /> ===References===<br /> Yuan Jix. 袁济喜. (2016). &quot;中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)<br /> <br /> Wang Jiahua. 王加华.（2019.9.20）&quot;China Social Science Network&quot; http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml<br /> <br /> Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）&quot;Chinanews&quot; http://www.chinanews.com/cul/2020/11-17/9340057.shtml <br /> <br /> He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html<br /> <br /> ==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==<br /> <br /> ===Collection of Yue Fu Poetry《乐府诗集》===<br /> <br /> ====Introduction====<br /> <br /> '''1.Brief introduction'''<br /> <br /> ''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. &quot;Yuefu&quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)<br /> <br /> '''2.About the author'''<br /> <br /> Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation.(Wu Ting 2007, 22)<br /> <br /> '''3.Content introduction'''<br /> <br /> It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &quot;Yuefu Poetry Collection&quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties.(Wu Ting 2007, 30)<br /> <br /> ====Masterpieces====<br /> <br /> '''1.''The Peacock Flies to Southeast'''''<br /> <br /> ''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit.As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed.(Wu Ting 2007, 36)<br /> <br /> '''2.''Mulan Poetry'''''<br /> <br /> ''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &quot;Mulan is a girl&quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)<br /> <br /> ====Evaluation====<br /> <br /> '''1.Contributions'''<br /> <br /> The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &quot;Moshangsang&quot;, &quot;dongmenxing&quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. Yuefu Poetry Collection introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)<br /> <br /> '''2.Shortcomings'''<br /> <br /> There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)<br /> <br /> ===References===<br /> Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)<br /> <br /> Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Collection of Yue Fu Poetry''《乐府诗集》<br /> <br /> Jiaomiao songs郊庙歌辞<br /> <br /> Yanshe songs燕射歌辞<br /> <br /> Guchui drum songs鼓吹曲辞<br /> <br /> Hengchui songs横吹曲辞<br /> <br /> Xianghe songs相和歌辞<br /> <br /> ''The Peacock Flies to Southeast'' 《孔雀东南飞》<br /> <br /> ''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)<br /> <br /> ===Questions===<br /> <br /> 1.When was Yuefu Poetry compiled？<br /> <br /> 2.Which institution did &quot;Yuefu&quot; belong to?<br /> <br /> 3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.In Song Dynasty.<br /> <br /> 2.It belongs to the institution in charge of music.<br /> <br /> 3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)<br /> <br /> ==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==<br /> <br /> ===Eight Major Cuisines of China===<br /> <br /> ====1. A Brief Introduction About Chinese Cuisine====<br /> As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &quot;four major cuisines.&quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &quot;eight major cuisines&quot; of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)<br /> <br /> ====2. The Classification of Chinese Cuisines====<br /> <br /> China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)<br /> <br /> =====2.1 Shandong Cuisine=====<br /> Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)<br /> =====2.2 Sichuan Cuisine=====<br /> Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one <br /> of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)<br /> =====2.3 Guangdong Cuisine=====<br /> Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)<br /> =====2.4 Fujian Cuisine=====<br /> Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &quot;pickled taste&quot;. (Shi Hongmei 2009, 55)<br /> =====2.5 Jiangsu Cuisine=====<br /> Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)<br /> =====2.6 Zhejiang Cuisine=====<br /> Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)<br /> =====2.7 Hunan Cuisine=====<br /> Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)<br /> =====2.8 Anhui Cuisine=====<br /> Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)<br /> <br /> ====3. A Comparison of Chinese-Western Diet Culture====<br /> <br /> Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)<br /> <br /> Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods.(Caihua 2009, 57)<br /> <br /> ====References====<br /> <br /> Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.<br /> <br /> Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.<br /> <br /> Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.<br /> <br /> Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．<br /> <br /> Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.<br /> <br /> ===Terms and Expressions===<br /> <br /> pot-stewed fowl 卤味<br /> <br /> stewing and simmering 炖，煨<br /> <br /> prickly ash 花椒<br /> <br /> fermented soybean 豆鼓<br /> <br /> Braised Dongpo Pork 东坡肉<br /> <br /> Buddha Jumps over the Wall 佛跳墙<br /> <br /> Kung Pao Chicken 宫保鸡丁<br /> <br /> Bean Sauce Tofu 麻婆豆腐<br /> <br /> ===Questions===<br /> 1. How many types of cuisines are there in china?<br /> <br /> 2. What’s differences between Chinese and western diets?<br /> <br /> 3. What is the origin of Dongpo Meat?<br /> <br /> ===Answers===<br /> 1. Eight<br /> <br /> 2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. <br /> <br /> 3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.<br /> <br /> ==Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting==<br /> <br /> Chinese Paper Cutting 剪纸<br /> <br /> ===Text===<br /> ===Introduction===<br /> The art of paper cutting in China may date back to the second century CE, since paper was invented by Cai Lunin the Eastern Han Dynasty in China. As paper became more affordable, paper-cutting became one of the most important types of Chinese folk art. Later, this art form spread to other parts of the world, with different regions adopting their own cultural styles. Because the cut-outs are often used to decorate doors and windows, they are sometimes referred to as chuanghua, window flowers or window paper-cuts. People glued the papercuts to the exterior of windows, so the light from the inside would shine through the negative space of the cutout.[1] Usually, the artworks are made of red paper, as red is associated with festivities and happiness in Chinese culture, but other colours were also used. Normally paper-cutting artwork is used on festivals like Spring Festival weddings and childbirth. Paper-cuting always symbolizes luck and happiness.<br /> <br /> ===History===<br /> The paper was invented in the Western Han Dynasty (6th century BC), before which there was no paper-cut art. However, at that time, people used thin-film materials to make handicrafts by hollowing out carving techniques, which had been popular since before paper appeared, that is, carving, carving, carving and cutting techniques were used to carve patterns on gold foil, leather, silk and even on leaves. In the historical records, the brother of the cutting Tung Tong describes the Zhou Dynasty king of the Western Zhou Dynasty who cut his &quot;Guiyu&quot; to his brother by using Wutong leaves and Feng Ji Yu to Tang as Hou. During the Warring States period, leather engraving (one of the cultural relics unearthed from No.1 Chu tomb in jianglingwangshan, Hubei Province) and silver foil hollowed out and engraved patterns (one of the cultural relics unearthed from the Warring States site in Guwei village, Huixian County, Henan Province) were used in the Warring States period. Their appearance laid a certain foundation for the formation of folk paper-cut. In the southern and Northern Dynasties, &quot;Mulan Ci&quot; has the poem &quot;yellow to the mirror&quot;. The earliest paper-cut work in China was found in the Northern Dynasty period (386-581 A.D.) unearthed near the Flame Mountain in Turpan, Xinjiang. These paper-cut, the use of repeated folding and image processing techniques.<br /> <br /> In the Ming and Qing Dynasties, the paper-cut handicraft became mature and reached its peak. Folk paper-cut handicrafts are more widely used, such as flower decorations on folk lanterns, patterns on fans, and embroidery patterns, etc., all of which are decorated with paper-cut for reprocessing [9]. What's more, Chinese people often use paper-cut as decoration to beautify the home environment. For example, door stacks, window decorations, cabinet flowers, flower lovers and ceiling flowers are used to decorate doors, windows and rooms.<br /> <br /> At the beginning of the 20th century, the &quot;May 4th&quot; New Culture Movement established the rudiment of Chinese folklore under the advocacy of advanced intellectuals Cai Yuanpei, Lu Xun, Liu Bannong and Zhou Zuoren. They widely collect folk literature materials, but also strive to collect folk art works, including folk paper-cut. In the 1930s, artist Chen Zhinong began the research and creation of folk paper-cut in Beijing. He used sketches and silhouettes to depict a large number of customs and customs in old Beijing, such as street vendors, workshop craftsmen, food stalls and tea picking, markets, temple fairs, and market idlers.<br /> <br /> ===Five Regions===<br /> <br /> <br /> ===Techniques===<br /> ===References===<br /> <br /> ===Terms and Expressions===<br /> <br /> ===Questions===<br /> <br /> ===Answers===<br /> <br /> ==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==<br /> <br /> ===The Chinese Medical Sage - Zhang Zhongjing===<br /> <br /> Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)<br /> <br /> Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)<br /> <br /> This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)<br /> <br /> Later, people called the doctor who sat in the drugstore to treat patients &quot;the doctor sitting in the hall&quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)<br /> <br /> When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)<br /> <br /> There is a Chinese saying that goes, &quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)<br /> <br /> When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)<br /> <br /> Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &quot; Cold Dispelling Jiaoer Soup&quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)<br /> <br /> Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &quot;Cold Dispelling Jiaoer Soup&quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &quot;Cold Dispelling Jiaoer Soup&quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)<br /> <br /> In fact, the way of making &quot;Cold Dispelling Jiaoer Soup&quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &quot;Jiao Er&quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&quot; (首都医药 2003, 40)<br /> <br /> At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)<br /> <br /> <br /> [[File:Zhang_Zhongjing.jpg]]<br /> <br /> ===References===<br /> <br /> 2003(17). 张仲景故乡的二十四个故事(六) 饺子的来历[J]. 首都医药.<br /> <br /> Zhang Maoyun 张茂云. 2014(04). 伤寒杂病论成书年代及仲景生平年代考历[J]. 中国中医药现代远程教育.<br /> <br /> Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. 2013(07). “医圣”张仲景[J]. 中国卫生人才.<br /> <br /> Zhang Deli 张德礼. 2019(05). 心系百姓的“医圣”张仲景[J]. 现代班组.<br /> <br /> Tan Rongzhou 覃荣周. 2013(07). 张仲景对我国医学发展的历史贡献[J]. 兰台世界.<br /> <br /> Zhao Qingxin 赵清新. 1999(05). 万世医宗张仲景[J]. 解放军健康.<br /> <br /> 2020(03). 张仲景:“医圣”之名传天下[J]. 天一. 月读.<br /> <br /> ===Terms and Expressions===<br /> <br /> medical sage 医圣<br /> <br /> Treatise on Febrile and Miscellaneous Diseases《伤寒杂病论》<br /> <br /> treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治<br /> <br /> yamen 衙门<br /> <br /> Great Cold ( 24th solar term ) 大寒<br /> <br /> Slight Cold ( 23rd solar term ) 小寒<br /> <br /> look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切<br /> <br /> Cold Dispelling Jiaoer Soup 祛寒娇耳汤<br /> <br /> ===Questions===<br /> <br /> 1. What's the honorable title Zhang Zhongjing addressed as?<br /> <br /> 2. What's the official role Zhang once taken?<br /> <br /> 3. When would Zhang treat patients for free at yamen?<br /> <br /> 4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?<br /> <br /> 5. What's the relationship between Zhang Zhongjing and dumplings?<br /> <br /> ===Answers===<br /> <br /> 1. Chinese Medical Sage.<br /> <br /> 2. Changsha magistrate.<br /> <br /> 3. He treated patients for free on the first and fifteenth days of every lunar month.<br /> <br /> 4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.<br /> <br /> 5. Dumplings are derived from the recipe &quot; Cold Dispelling Jiaoer Soup&quot; developed by Zhang Zhongjing.<br /> <br /> --[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)<br /> <br /> ==Architecture, Qingming Riverside Landscape Garden-Zeng Liang 曾良 （major）202070080578==<br /> <br /> ===Introduction===<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, and covering an area of more than 600 acres, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the Northern Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park covering an area of more than 600 acresand showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the earlier Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and also, the first batch of 5A-level tourist attractions and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)(文件无效)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng as the capital of the Northern Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, People can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng, the capital of the earlier Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, people can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> There are eight functional zones including posthouse, folk custom, characteristic food street, demonstration of culture in Song Dynasty, flower, bird, fish, bug, prosperous capital, leisure and shopping, and integrated service, and four cultural zones including military drill ground, Rainbow Bridge, folk custom, and capital of Song Dynasty. The main architechtures of the garden include gate building, rainbow bridge, street view, stores, river channels, wharfs and ships. According to the original layout of ''Riverside Scene at Qingming Festival'', the garden presents the fabrications on site such as wine shops, teahouses, pawnshops, Bian (today’s Kaifeng) embroideries, official porcelains, and New Year paintings, gathers folk performance, vaudeville, and drum performance. (Gao Jing 2010,18)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050, and it was reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The Fuyun Pavillion is 31.99 meters high and it is the tallest building in the garden. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050 and reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The tallest building in the garden, the Fuyun Pavillion is 31.99 meters high. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> Every year, Qingming Riverside Landscape Garden will hold a series of cultural festivals, such as folk cultural festival of Song Dynasty, Qingming cultural festival, and chrysanthemum cultural festival. During the folk cultural festival of Song Dynasty, the scenic spot will gather unique folk performances across the country, such as flower-drum on the high platform, stilt, dragon dance, lion dance, small Henan opera. The international lantern exhibition is the highlight of folk cultural festival of Song Dynasty. A visual feast will be brought by auspicious tradition of Chinese Pavilion, the fresheness and refineness of Asian Pavilion, simplicity and fashion of European Pavilion, the quaint Buddhism of the Southeast Asia Pavilion, and the luxurious atmosphere of the African Pavillion. During the Qingming Festival, the garden will hold some Qingming cultural festivals to promote traditional festival culture. At that time, vistors can have an outing in spring, plant willion trees, watch folk customs, taste snacks, and enjoy the large-scale water live performances called ''“Luxuriant Dream of the East Capital of the Great Song Dynasty”.'' This event combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. Chrysanthemum cultural festival is another grand festivl in the garden, during which all kinds of chrysanthemums will be presented.The annual chrysanthemum festival in Kaifeng is held from October to November. Qingming Riverside Landscape Garden focuses on beautiful chrysanthemum plants, and makes full of architectures, sculptures, mountains, the surface of the water and association of activity and inertia to highlight the cultivated and creative skills of Kaifeng people. Chrysanthemums are changed into various shapes, which attracted thousands of visitors from all over the world. In the exhibition, visitors can enjoy and appreciate some species of chrysanthemum that are rarely seen in our daily life. (Zhang Lu 2013,24)<br /> <br /> There are vaious performances presented in the Qingming Riverside Landscape Garden, such as ''Luxuriant Dream of the East Capital of the Great Song Dynasty'', ''Baogong Salute to Guests'', ''Spitting Fire Show'', '''Cockfight''', ''Women’s Polo'' and so on. Among these formances, ''Luxuriant Dream of the East Capital of the Great Song Dynasty'' is a representative show of the garden. It is a large-scale live water performance produced by Qingming Riverside Landscape Garden. The performance is lasted for 70 minutes and is performed by more than 700 actors. It is a scroll about the heyday of the Northern Song Dynasty. The bustling scene of the Song Dynasty market, the prosperity of the capital of Bianliang(today’s Kaifeng), the mighty momentum of luxurious neighboring countries, the tragedy of wars, and the sustenance of blessings constitute a wash painting with a combination of noise and tranquility.(Gao Jing 2010,16)<br /> <br /> Ancient Chinese architectures and western architectures are different. The ancient architectures of China can be divided into palace architecure, religious architecture, mansion architecture and public architecture, which can be seen in the Qingming Riverside Landscape Garden. Compared with the Gothic architecture during the Middles Ages of the western Europe, the architecture of Song Dynasty shows a delicate and soft style, with complex forms of palaces, terraces, towers and pavilions, while Gothic archetecture is magnificent and exquisite. It has pointed vaults, which give people a visual impact and have a strong religious color.(Pang Runxin 2019,10)<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Qingming Riverside Landscape Garden'' 清明上河园<br /> <br /> ''Riverside Scene at Qingming Festival''《清明上河图》<br /> <br /> Rainbow Bridge虹桥<br /> <br /> Fuyun Pavillion浮云阁<br /> <br /> Shangshan Gate 上善门<br /> <br /> chrysanthemum菊花<br /> <br /> ''Baogong Salute to Guests''包公迎宾<br /> <br /> ''Spitting Fire Show''气功喷火<br /> <br /> ''Cockfight''斗鸡<br /> <br /> ''Women’s Polo''女子马球<br /> <br /> ''Luxuriant Dream of the East Capital of the Great Song Dynasty''《大宋·东京梦华》<br /> <br /> ===Questions===<br /> <br /> 1.What is the location of ''Qingming Riverside Landscape Garden''?<br /> <br /> 2.What’s the role of ''Qingming Riverside Landscape Garden'' in China?<br /> <br /> 3.When was ''Qingming Riverside Landscape Garden'' opened to the public?<br /> <br /> 4.Who is the painter of ''Piverside Scene at Qingming Festival''?<br /> <br /> 5.Which dynasty of the painting ''Qingming Riverside Landscape Garden'' present?<br /> <br /> 6.What does the name of ''Fuyun Pavilion'' mean?<br /> <br /> 7.What’s the characteristics of the performance of ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> 8.Can you please list some kinds of performance of ''Qingming Riverside Landscape Garden'' besides ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> ===Answers===<br /> <br /> 1.It is located on the west bank of ''Dragon Pavilion'' in Kaifeng, Henan Province.<br /> <br /> 2.In 2009, ''Qingming Riverside Landscape Garden'' was chosed as China’s first theme park in the style of the ancients by ''China World Records Association''. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s ''intangible cultural heritage exhibition base''. <br /> <br /> 3.It was officially opened to the public on October 28, 1998.<br /> <br /> 4.Zhang Zeduan.<br /> <br /> 5.Northern Song Dynasty.<br /> <br /> 6.The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map.<br /> <br /> 7.It combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. <br /> <br /> 8.''Baogong Salute to Guests'', ''Spitting Fire Show'', ''Cockfight'', ''Women’s Polo''.<br /> <br /> ===References===<br /> <br /> Chen Kang 陈康.(2006).《清明上河园》的精彩场景——贯木拱虹桥[Excellent Scenes of Qingming Riverside Landscape Garden——Wooden Arch Rainbow Bridge].集邮博览Philatelic Panorama(07)62-63.<br /> <br /> Gao Jing高静.(2010). 清明上河园——玩转宋文化[Qingming Riverside Landscape Garden—Fully Experience the Culture of Song Dyansty].光彩Brilliance(04)16-19.<br /> <br /> Li Mei李梅.(2007).清明上河园特色建设与长远发展[Distinctive Architecture of Qingming Riverside Landscape Garden nd its Long Development].合作经济与科技Co-operative Economyand Science(8)10-12.<br /> <br /> Pang Runxin庞润昕.(2019).《清明上河图》的建筑艺术[Architectural Art in Paintings of Riverside Scene Qingming Festival].景德镇陶瓷大学Jingdezheng Ceramic Institute(06)10-16.<br /> <br /> Wei Tuo韦陀.(2006).张择端之《清明上河图》[Riverside Scene at Qingming Festival Painted by Zhang Zeduan].紫禁城Forbidden City（Z2)13-15.<br /> <br /> Zhang Lu张璐.(2013).清明上河园与宋都文化传承创新研究[Inheritance and Innovation Research Study of “Qingming River” Song Dynasty Theme Park].赤峰学院学报Chi Feng College Journal(05)23-27.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:06, 12 December 2020 (UTC) (标点符号之间需要空格）--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_1&diff=112943 2020-12-16T06:37:40Z

<p>Sagara Seydou 3: /* THE FORCES OF YIN / YANG */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Astrology - Alsied, Saffana==<br /> &quot;Chinese Astrology&quot;--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 17:07, 18 November 2020 (UTC)<br /> <br /> ===The History===<br /> <br /> So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the source is coming from ?<br /> <br /> ===The Five Elements And YIN/YANG===<br /> <br /> Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation please?<br /> <br /> A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?<br /> <br /> ===THE FORCES OF YIN / YANG===<br /> <br /> Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.<br /> <br /> A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?<br /> <br /> Chinese astrology was invented to achieve the two following goals;<br /> <br /> 1.) To predict the future,<br /> <br /> 2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise. <br /> <br /> According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?<br /> <br /> Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?<br /> <br /> The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?<br /> <br /> You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Chinese Astrology 中国占星学<br /> <br /> 2. Chinese Zodiac 中国十二生肖<br /> <br /> 3. Agricultural calendar 农业日历<br /> <br /> 4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）<br /> <br /> 5. The Oriental philosophy 东方哲学<br /> <br /> ===Questions===<br /> <br /> 1-Why was Chinese astrology invented?<br /> <br /> 2-How Chinese astrology relates to a person’s divine destiny?<br /> <br /> 3-What important role does the Chinese zodiac play in Chinese culture?<br /> <br /> 4- What is Chinese astrology based on?<br /> <br /> 5-Is Chinese astrology accurate?<br /> <br /> ===Answers===<br /> 1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.<br /> <br /> 2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.<br /> <br /> 3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.<br /> <br /> 4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.<br /> <br /> 5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> ===References===<br /> <br /> Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9<br /> <br /> 何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591<br /> <br /> Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.<br /> <br /> Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.<br /> <br /> &quot;&quot;Almanac&quot; &quot;lunar&quot; zodiac beginning of spring as the boundary dislocation? — China Network&quot;. 16 February 2009. Retrieved 5 January 2011.<br /> <br /> Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.<br /> <br /> &quot;Five Elements(Wu Xing)&quot;. YourChineseAstrology.com<br /> <br /> ==Spring Festival Couplets - Cao Runxin 曹润鑫==<br /> [[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]<br /> <br /> ===Spring Festival Couplets===<br /> Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).<br /> <br /> Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).<br /> <br /> The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).<br /> <br /> There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).<br /> <br /> ===References===<br /> <br /> *Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.<br /> *Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.<br /> *Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.<br /> *Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.<br /> <br /> <br /> ===Terms and Expressions ===<br /> Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 <br /> <br /> Paste 贴<br /> <br /> Horizontal scroll 横联<br /> <br /> Upper scroll 上联<br /> <br /> Lower scroll 下联<br /> <br /> ===Questions ===<br /> 1.What’s the purpose of pasting Spring Festival Couplets?<br /> <br /> To expresses people’s delight in the festival and wishes for a better life in the coming year.<br /> <br /> 2.What’s the historical origin of Spring Festival Couplets?<br /> <br /> It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.<br /> <br /> 3.How to read the Spring Festival Couplets?<br /> <br /> First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. <br /> <br /> 4.How to do with the Old Couplets?<br /> <br /> Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.<br /> <br /> ==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - Translation 英语笔译==<br /> <br /> [[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]<br /> <br /> ===Guzheng===<br /> <br /> ''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.<br /> <br /> There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).<br /> <br /> The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)<br /> <br /> [[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=古筝&amp;step_word=&amp;hs=0&amp;pn=27&amp;spn=0&amp;di=9900&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3246661627%2C3658564396&amp;os=3335747328%2C3552694810&amp;simid=0%2C0&amp;adpicid=0&amp;lpn=0&amp;ln=1718&amp;fr=&amp;fmq=1607348039297_R&amp;fm=result&amp;ic=&amp;s=undefined&amp;hd=&amp;latest=&amp;copyright=&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;gsm=1c&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]for original source.]]<br /> <br /> The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)<br /> <br /> Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several other schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)<br /> <br /> In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang played the ''guzheng'' to merge the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)<br /> <br /> From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.<br /> <br /> ===References===<br /> <br /> *Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.<br /> *Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.<br /> *Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. <br /> *Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.<br /> *Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.<br /> *Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.<br /> *Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.<br /> <br /> ===Terms and Expressions===<br /> <br /> *Meng Tian 蒙恬 <br /> *Zhao Lin 赵璘<br /> *''Records on Words'' 《因话录》<br /> *anterior mountain 前岳山 <br /> *posterior mountain 后岳山<br /> *''Yan Zhu'' 雁柱 <br /> *string pegs 弦钉<br /> *turning box 调音盒 <br /> *zither feet 琴足<br /> *paulownia 桐木 <br /> *mahogany 红木<br /> *''Dai Mao'' 玳瑁<br /> *''Yi Jia'' 义甲<br /> *''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹<br /> *''High Mountains and Running Water'' 《高山流水》<br /> *''The Autumn Moon in the Han Palace'' 《汉宫秋月》<br /> *''Jackdaw Playing in the Water'' 《寒鸦戏水》<br /> *''The Tune of Liu Qing Niang'' 《柳青娘》<br /> *Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香<br /> *Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望<br /> *''National Music Ceremony'' 《国乐大典》<br /> <br /> ===Questions===<br /> <br /> 1. What kind of musical instrument does the ''guzheng'' belong to?<br /> <br /> 2. Why the ''guzheng'' is deeply loved by Chinese? <br /> <br /> 3. Who is Meng Tian? <br /> <br /> 4. According to the legend, how did the ''se'' develop into the ''zheng''?<br /> <br /> 5. How many strings does the ''guzheng'' have? How long is the guzheng?<br /> <br /> 6. What is the function of movable bridges?<br /> <br /> 7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? <br /> <br /> 8. In ancient times, what materials were the fingerpicks made of?<br /> <br /> 9. Generally speaking, how does the players strike notes? <br /> <br /> 10. What styles can ''guzheng'' be divided into?<br /> <br /> 11. Which school does ''The Autumn Moon in the Han Palace'' belong to? <br /> <br /> 12. Do you know any other ''guzheng'' music? Please list some pieces.<br /> <br /> ===Answers===<br /> <br /> 1. It belongs to plucked stringed instruments.<br /> <br /> 2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. <br /> <br /> 3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.<br /> <br /> 4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. <br /> <br /> 5. It usually has 21 strings and is 163 centimeters long. <br /> <br /> 6. They are moved to change the timbres.<br /> <br /> 7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.<br /> <br /> 8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.<br /> <br /> 9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. <br /> <br /> 10. The Northern school and the Southern school.<br /> <br /> 11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.<br /> <br /> 12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).<br /> <br /> ==Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581==<br /> ===Facial makeup===<br /> <br /> Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)<br /> <br /> People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)<br /> <br /> The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)<br /> <br /> Red<br /> <br /> Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.<br /> <br /> Black<br /> <br /> Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.<br /> <br /> White<br /> <br /> White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.<br /> <br /> Blue<br /> <br /> Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.<br /> <br /> Purple<br /> <br /> Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.<br /> <br /> Golden<br /> <br /> Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).<br /> <br /> The features of facial makeup are mainly as follows:<br /> First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.<br /> It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.(Cao Juan, 2019, 61)<br /> <br /> ===B. Terms and Expressions===<br /> <br /> painted face 花脸<br /> <br /> clown 丑角<br /> <br /> Sheng 生<br /> <br /> Dan 旦<br /> <br /> Jing 净<br /> <br /> Chou 丑<br /> <br /> Qingyi 青衣<br /> <br /> xiaosheng 小生<br /> <br /> laosheng 老生<br /> <br /> wusheng 武生<br /> <br /> Gao Changgong 高长恭<br /> <br /> legend，romance 传奇剧<br /> <br /> Erlang Shen, Erlang 二郎神<br /> <br /> Tathagata, Buddha 如来佛<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Water Margin of the Marsh 水浒传<br /> <br /> ===C. Questions===<br /> <br /> 1.How many types are character roles divided into in Beijing opera?<br /> <br /> 2.What are the differences bbetween Sheng and Dan?<br /> <br /> 3.What are the special features of Chou?<br /> <br /> 4.What is the function of facial mask in Beijing opera?<br /> <br /> 5.What are the main features of facial makeup?<br /> <br /> 6.What are the characteristics of characters wearing blue facial makeup?<br /> ===Answers===<br /> 1.Four types:Sheng, Dan, Jing and Chou.<br /> <br /> 2.Sheng refers to male roles while Dan refers to female roles.<br /> <br /> 3.A patch of white powder is wiped on their nose.<br /> <br /> 4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. <br /> <br /> 5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.<br /> <br /> 6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly<br /> <br /> ===References===<br /> <br /> He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.<br /> <br /> Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.<br /> <br /> Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.<br /> <br /> ==Literature, Science Fiction and Fantasy - Dashkin, Gennadii - Student No.201911080001==<br /> === Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===<br /> <br /> <br /> Nowadays, modern literature is one of most interesting and gorgeous side of the worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that modern generation in the whole world prefer to read something about the future. Something, that can help to understand of what will be next. And that is why, one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broads our mind horizons.<br /> <br /> ====1.Liu Cixin（刘慈欣）====<br /> <br /> <br /> Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976).(Alexandra Alter,How Chinese Sci-Fi Conquered America 2019, 1)<br /> <br /> Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. <br /> <br /> Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written and naive and decided that he did not deserve publication.However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &quot;Supernova Era&quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence.(Liu Cixin, Supernova Era 2019,352)<br /> <br /> Liu's first books were warmly received in China, but nevertheless real success came to the author only in 2006, when he published the first part of his trilogy &quot;Memory of the Earth's Past&quot; - the novel &quot;The Problem of Three Bodies&quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &quot;The Three-Body Problem,&quot; although this is not formally true.<br /> <br /> In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.<br /> <br /> Liu Cixin is definitely a unique writer, with his own style, philosophy and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics, but also to science fiction literature.<br /> <br /> ====2.Chen Qiufan (陈楸帆） ====<br /> <br /> <br /> Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.<br /> <br /> Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.<br /> <br /> His debut book was ''The Empty Wave'', &quot;combining realism and allegory to represent the hybridity of humans and machines.&quot; Chen Qiufan's novels and stories won three Galaxy Awards, and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish and Russian.<br /> <br /> His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of the humanity progress.<br /> <br /> ====3.Rebecca F. Kuang (匡蘦秀)====<br /> <br /> <br /> When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.<br /> <br /> Quang grew up in Dallas, Texas and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.<br /> <br /> Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.<br /> <br /> Her debut novel, The Opium War, is a war fantasy set inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological and philosophical realities of China of the chosen era.<br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Science fiction - 科幻<br /> <br /> 2. Fantasy - 奇幻<br /> <br /> 3. Horizon - 地平线<br /> <br /> 4. Broad - 拓宽<br /> <br /> 5. Hybrid - 杂种<br /> <br /> 6. The plot - 情节<br /> <br /> 7. Garbage - 垃圾堆<br /> <br /> 8. Heyday - 壮年<br /> <br /> 9. Supernova - 超新星<br /> <br /> ===Questions===<br /> <br /> 1. What was the first book written by Liu Cixin?<br /> <br /> 2. What is the most popular trilogy of books written by Liu Cixin?<br /> <br /> 3. Who is called as Chinese William Gibson?<br /> <br /> 4. What is Rebecca Quang's Opium War plot based on?<br /> <br /> ===Answers===<br /> <br /> 1. Supernova Era<br /> <br /> 2. Memory of the Earth's Past<br /> <br /> 3. Chen Qiufan (陈楸帆）<br /> <br /> 4. The plot is largely based on the history of China in the middle of the 20th century.<br /> <br /> ===References===<br /> <br /> 1. Alexandra Alter,How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html<br /> <br /> 2. Liu Cixin, Supernova Era, 2019. 352 pp.<br /> <br /> 3. Chen Qiufan, Waste Tide, 2019. 342 pp.<br /> <br /> 4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.<br /> <br /> ==Stilts - Chen Yongxiang 陈永相 英语笔译 202070080582==<br /> [[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;fm=26&amp;gp=0.jpg] for original source.]]<br /> <br /> ===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===<br /> <br /> &lt;center&gt;Chen Yongxiang 陈永相 英语笔译 202070080582&lt;/center&gt;<br /> <br /> ====Introduction====<br /> <br /> Stilt is one of the folk dances of the Han nationality in our country, which is called &quot;Stilt Yangko&quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.<br /> <br /> As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &quot;Tongle Gaojiaohui&quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.<br /> <br /> The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who hold the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.<br /> <br /> Miliangtun Village Stilts as a renowned fair, known as the features of risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.<br /> <br /> There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilts is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.<br /> <br /> ====Terms and Expressions====<br /> <br /> Miliangtun (village name) 米粮屯<br /> <br /> stilts 高跷<br /> <br /> intangible cultural heritage 非物质文化遗产<br /> <br /> folk dance 民间舞蹈<br /> <br /> Toutou 陀头<br /> <br /> Laozuozi 老坐子 <br /> <br /> young boy 小二哥<br /> <br /> young master 公子<br /> <br /> Mr.Plaster 药先生<br /> <br /> Choupo 丑婆<br /> <br /> fisherman渔翁<br /> <br /> Yupo 渔婆 <br /> <br /> wood-cutter 柴翁<br /> <br /> handsome and ugly drum-players 俊鼓和丑鼓<br /> <br /> handsome and ugly gong-players 俊锣和丑锣<br /> <br /> ====Questions====<br /> <br /> 1. Where does Miliangtun Village Stilts originate?<br /> <br /> 2. How many years of history does Miliangtun Village Stilts have?<br /> <br /> 3. How many roles in Miliangtun Village Stilts?<br /> <br /> 4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?<br /> <br /> 5. How long is the shortest and the longest stilts?<br /> <br /> ====Answers====<br /> <br /> 1. Wangzuo Town, Fengtai District, Beijing.<br /> <br /> 2. More than 250 years.<br /> <br /> 3. 13.<br /> <br /> 4. In 2006.<br /> <br /> 5. The shortest stilt is two feet long, and the longest reaches over five feet.<br /> <br /> ====References====<br /> <br /> Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.<br /> <br /> Sun Miao 孙淼. (2018). &quot;一跷多艺&quot;: 胜芳高跷会的舞体表征与比较研究. [&quot;Multi-skills with one stilt&quot;: A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.<br /> <br /> https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin<br /> <br /> https://baijiahao.baidu.com/s?id=1643344511003907548&amp;wfr=spider&amp;for=pc<br /> <br /> <br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)<br /> <br /> ==Chinese Lion Dancing - Ding Daifeng 丁代凤==<br /> <br /> ===Introduction===<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.<br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)<br /> <br /> <br /> In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)<br /> <br /> ===Northern lion dancing===<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)<br /> <br /> ===Southern lion dancing===<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)<br /> <br /> Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)<br /> <br /> In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)<br /> <br /> ===Terms and Expressions===<br /> <br /> Western Regions 西域<br /> <br /> mount 坐骑<br /> <br /> Manjusri Bodhisattva 文殊菩萨<br /> <br /> gong 锣<br /> <br /> northern lion dancing 南狮<br /> <br /> southern lion dancing 北狮<br /> <br /> colorful silk ball 绣球<br /> <br /> wooden stakes 木桩<br /> <br /> spiritual resemblance神似<br /> <br /> Liu Bei lion 刘备狮<br /> <br /> Guan Gong lion 关公狮<br /> <br /> Zhang Fei lion 张飞狮<br /> <br /> sworn brothers 结义兄弟<br /> <br /> horse stances 马步<br /> <br /> Cai Qing 采青<br /> <br /> lettuces 生菜<br /> <br /> ===Questions===<br /> <br /> 1. How long is the history of lion dance in China?<br /> <br /> 2. Why did people gradually accept lion as a sacred animal?<br /> <br /> 3. Why did people use lion dance to celebrate the New Year?<br /> <br /> 4. What is the main difference between southern lion dancing and northern lion dancing?<br /> <br /> 5. What is the center of southern lion dancing?<br /> <br /> 6. How many colors are there in the heads of southern lions? And what are they?<br /> <br /> 7. What is “Cai Qing”? And what do you know about “Cai Qing”?<br /> <br /> ===Answers===<br /> <br /> 1. It is with a history of about 2000 years.<br /> <br /> 2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.<br /> <br /> 3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.<br /> <br /> 4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.<br /> <br /> 5. It is in southern China’s Guangdong province.<br /> <br /> 6. The head of southern lion has three colors, namely black, red and yellow.<br /> <br /> 7. It means &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming.<br /> <br /> ===References===<br /> <br /> Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.<br /> <br /> Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.<br /> <br /> Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.<br /> <br /> Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.<br /> <br /> ==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==<br /> ===A. The Eight Tang-Song Prose Masters===<br /> [[File:Tang Song Ba Da Jia.jpg]]<br /> <br /> ===Brief Introduction of The Eight Tang-Song Prose Masters===<br /> <br /> The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &quot;Ancient Prose Movement&quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25） <br /> In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)<br /> <br /> '''1. Han Yu'''<br /> [[File:Han Yu.jpg]]<br /> <br /> Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)<br /> Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)<br /> <br /> '''2. Liu Zongyuan'''<br /> [[File:Liu Zongyuan.jpg]]<br /> <br /> Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &quot;Liu Hedong &quot;, &quot; Mr. Hedong &quot;, also known as&quot; Liu Liuzhou &quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor .<br /> He was juxtaposed with Han Yu as &quot;Han Liu &quot;, with Liu Yuxi as &quot; Liu Liu &quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &quot;Wang Meng Wei Liu &quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &quot;Liu He Dong Colloection&quot; was one of his representatives. (Zhou Zhenfu 2016, 26)<br /> He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)<br /> <br /> '''3. Ouyang Xiu'''<br /> [[File:Ouyang Xiu.jpg]]<br /> <br /> Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.<br /> Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.<br /> Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)<br /> <br /> '''4. Su Xun'''<br /> [[File:Su Xun.jpg]]<br /> <br /> Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.<br /> Su Xun was a man of political ambition. He said that the main purpose of his works was &quot;to speak for the world &quot;, to&quot; apply to the present &quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)<br /> <br /> '''5. Su Shi'''<br /> [[File:Su Shi.jpg]]<br /> <br /> Su Shi, with a fame as &quot; Dongpo Jushi &quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .<br /> Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &quot;Han Chao Su hai&quot; with Han Yu in the prose area, &quot;Ou Su&quot; with Ouyang Xiu, &quot;Su Huang&quot; with Huang Tingjian, and &quot;Su Xin&quot; with Xin Qiji in the Ci area, so he was called &quot;the first all-round talent in ancient China&quot;.(Zhou Zhenfu 2016, 28)<br /> Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &quot;creating for certain purposes&quot;, advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.<br /> <br /> '''6. Su Zhe'''<br /> [[File:Su Zhe.jpg]]<br /> <br /> Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch.<br /> Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &quot;literary style&quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &quot;Ode to Ink bamboo&quot;.(Zhou Zhenfu 2016, 29)<br /> <br /> '''7. Wang Anshi'''<br /> [[File:Wang Anshi.jpg]]<br /> <br /> Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .<br /> Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)<br /> <br /> '''8. Zeng Gong'''<br /> [[File:Zeng Gong.jpg]]<br /> <br /> Zeng Gong was known as &quot;Mr. Nan Feng&quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &quot;eight masters&quot; of the Tang and Song Dynasties, he was also one of the &quot;Seven Zengs of Nanfeng&quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.<br /> <br /> '''9. Comparison between the Ancient Prose Movement and Renaissance'''<br /> Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)<br /> <br /> Comparison in ideology:<br /> The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.<br /> <br /> Comparison in writing style:<br /> The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)<br /> <br /> Comparison in literary form:<br /> The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&quot; Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)<br /> <br /> ===B. Terms and Expressions===<br /> The Eight Tang-Song Prose Masters 唐宋八大家<br /> <br /> Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》<br /> <br /> Ancient Prose Movement 古文运动<br /> <br /> parallel prose 骈文<br /> <br /> The Decline of Eight Generations 文起八代之衰<br /> <br /> The Article Giant 文章巨公<br /> <br /> Admired Literate of One Hundred Generations 百代文宗<br /> <br /> Han Changli Collection 《韩昌黎集》<br /> <br /> External collection 《外集》<br /> <br /> The Teacher's Theory《师说》<br /> <br /> Pre-Qin and Han Dynasties 先秦两汉时期<br /> <br /> writing in classical Chinese 文言文<br /> <br /> feudal provincial of Liuzhou 柳州刺史<br /> <br /> official supervisor of imperial censor 监察御史<br /> <br /> Liu He Dong Colloection 《柳河东集》<br /> <br /> Northern Song Dynasty 北宋<br /> <br /> a thousand volumes of collections of inscriptions 金石遗文一千卷<br /> <br /> Xia, Shang, Zhou Dynasties 三代<br /> <br /> the crown of that time 一时之冠<br /> <br /> Southern Tang Dynasty 南唐<br /> <br /> Yu Feng 余风<br /> <br /> The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》<br /> <br /> the Northern Song Dynasty poetry innovation movement北宋诗文革新运动<br /> <br /> Heng Lun 《衡论》<br /> <br /> Duke Jingguo 荆国公<br /> <br /> The Book to the Emperor 《上皇帝书》<br /> <br /> Dongpo Jushi 东坡居士<br /> <br /> Ci writer 词人<br /> <br /> Unconstrained Ci School豪放派<br /> <br /> literary and artistic attainments 文学艺术造诣<br /> <br /> the first all-round talent in ancient China 中国古代第一全才<br /> <br /> Su Men Four bachelors 苏门四学士<br /> <br /> the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》<br /> <br /> The New Theory《新论》<br /> <br /> On the Six Kingdoms 《六国论》<br /> <br /> Ode 赋<br /> <br /> The Ode to Ink bamboo 《墨竹赋》<br /> <br /> Seven Zengs of Nanfeng 南丰七曾<br /> <br /> the doctrine before the text先道后文<br /> <br /> the Book to Ouyang She Ren 《上欧阳舍人书》<br /> <br /> the Book to Bachelor Cai 《上蔡学士书》<br /> <br /> the Six Dynasties 六朝<br /> <br /> ===C. Questions===<br /> 1.Who are the pioneers of the Ancient Prose Movement?<br /> <br /> 2.Which kind of prose they advocate in the Ancient Prose Movement?<br /> <br /> 3.Do you know any representatives of Liu Zongyuan?<br /> <br /> 4.Why Ouyang Xiu is called &quot;Liu Yi Scholar&quot;?<br /> <br /> 5.What’s the relationship among Su Xun, Su Shi and Su Zhe?<br /> <br /> 6.Who are the &quot;Seven Zengs of Nanfeng&quot;?<br /> <br /> 7.Do you know any about the Renaissance?<br /> <br /> ===D. Answers===<br /> <br /> 1.Han Yu and Liu Zongyuan.<br /> <br /> 2.The prose of Pre-Qin and Han Dynasties.<br /> <br /> 3.The &quot;Liu He Dong Colloection&quot;.<br /> <br /> 4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.<br /> <br /> 5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.<br /> <br /> 6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> <br /> 7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.<br /> <br /> ===References===<br /> Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.<br /> <br /> Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.<br /> <br /> He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.<br /> <br /> Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.<br /> <br /> Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).<br /> <br /> Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.<br /> <br /> Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.<br /> <br /> ==Music, Instruments, Pipa - Gao Mingzhu 高明珠==<br /> [Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu<br /> <br /> '''1. A Brief Introduction'''<br /> <br /> Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&quot; and &quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)<br /> <br /> '''2.The Development of Pipa'''<br /> <br /> The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)<br /> <br /> During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one kind playing skill in playing pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16) <br /> <br /> There was only one kind playing skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from small to popular. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> '''3.Pipa Schools and Their Chracteristics'''<br /> <br /> The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)<br /> <br /> (1)The Wuxi school<br /> <br /> The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)<br /> <br /> (2)The Pinghu school<br /> <br /> The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as &quot; paired butterfly flying&quot; .(Deng Sijia 2020,10)<br /> <br /> (3)The Pudong School <br /> <br /> Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)<br /> <br /> (4)The Chongming school<br /> <br /> The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)<br /> <br /> (5)The Shanghai school<br /> <br /> This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)<br /> <br /> '''4.Traditional Pipa Music'''<br /> <br /> Traditional pipa music can be divided into military songs, literary songs and military-literary songs.<br /> <br /> Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are &quot;Ambush on All Sides&quot;, &quot;Bury Me High&quot;, &quot;Hai Qing Hunting the Swan&quot;, &quot;General Order in the Han Dynasty&quot;. [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)<br /> <br /> Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; and so on.<br /> <br /> Military-literary song is the combination of martial song and literary song. The representative songs are &quot;The Spring Snow&quot;, &quot;High Mountain and Flowing Water&quot;, &quot;Dragon Boat&quot;, &quot;Flute and Drum at Sunset&quot; and so on.<br /> <br /> '''5.Refferences''' [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> [1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020<br /> <br /> [2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.<br /> <br /> [3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.<br /> <br /> [4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.<br /> <br /> [Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> '''6.Terms and Expressions'''<br /> <br /> 弹拨乐器—plucked instruments<br /> <br /> 汉化—Chinesization<br /> <br /> 套曲—divertimentoes<br /> <br /> 游牧民族—nomad tribe<br /> <br /> 宫廷乐—court music<br /> <br /> 轮指法—tremolo<br /> <br /> 音色—timbre<br /> <br /> 曲目—repertoire<br /> <br /> 并弦—parallel string<br /> <br /> 指法—fingering techniques<br /> <br /> '''7.Questions'''<br /> <br /> 1、How many stages did pipa go through during its development?<br /> <br /> 2、What characteristics did pipa have during Wei and Jin dynasties?<br /> <br /> 3、What changes had been made to pipa during Ming and Qing dynasties?<br /> <br /> 4、How many schools does pipa have and what are they?<br /> <br /> 5、Can you list at least 3 representative repertoires of literary songs played by pipa? <br /> <br /> '''8.Answers'''<br /> <br /> 1、Four.<br /> <br /> 2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.<br /> <br /> 3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. <br /> <br /> 4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school. <br /> <br /> 5、&quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; .<br /> <br /> [Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> ===Terms and Expressions===<br /> ===xxx===<br /> <br /> ==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001== Major.................<br /> === Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === <br /> <br /> The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?<br /> <br /> '''1. Huli-jing (狐狸精) in China'''<br /> <br /> First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.<br /> <br /> People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.<br /> <br /> Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.<br /> <br /> The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.<br /> <br /> Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.<br /> A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &quot;Good Hunt&quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.<br /> <br /> In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &quot;Painted Skin (畫皮)&quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.<br /> <br /> In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.<br /> <br /> Quite a lot of information about werewolf foxes can be obtained from the TV series &quot;The Legend of the Nine-Tailed Fox&quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.<br /> <br /> Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.<br /> <br /> The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.<br /> <br /> '''2. Kitsune (キツネ) in Japan''' <br /> <br /> In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&quot;Fox-messenger&quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.<br /> <br /> Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.<br /> <br /> Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.<br /> <br /> A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. <br /> <br /> '''3. Kumiho (구미호) in Korea'''<br /> <br /> Kumiho - (구 &quot;ku&quot; - nine, 미 &quot;mi&quot; - tail, 호 &quot;ho&quot; - fox - &quot;fox with nine tails&quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.<br /> <br /> In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> Shape shifter – 成精<br /> <br /> Creature –生物<br /> <br /> Seductive –诱人的<br /> <br /> Damnation –诅咒<br /> <br /> Metaphor –隐喻<br /> <br /> Ascribe –属性<br /> <br /> Indigenous –土着<br /> <br /> Deity – 反面人物<br /> <br /> Liver – 肝脏<br /> <br /> ===References===<br /> <br /> 1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.<br /> <br /> 2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.<br /> <br /> 3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.<br /> <br /> ===Questions===<br /> <br /> 1. What was the attitude towards the Huli Jing in Ancient China?<br /> <br /> 2. Can we characterize Kitsune as a positive or negative character?<br /> <br /> 3. Could Kumiho become human forever?<br /> <br /> ===Answers===<br /> <br /> 1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.<br /> <br /> 2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.<br /> <br /> 3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.<br /> References ..................<br /> <br /> ==Chinese Characters - Gu Dongfang 顾东方==<br /> Chinese Characters<br /> <br /> ===Origin===<br /> <br /> Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）<br /> <br /> ===Evolution of Chinese characters===<br /> [[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]<br /> Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)<br /> <br /> ===Ancient Chinese characters===<br /> <br /> ====Oracle bone script====<br /> <br /> Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).<br /> <br /> ====Bronze script====<br /> <br /> In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.<br /> <br /> ====Seal script====<br /> Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. <br /> The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.<br /> <br /> ===Modern characters===<br /> ====Clerical script====<br /> <br /> After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.<br /> From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.<br /> <br /> ====Regular script====<br /> <br /> Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.<br /> <br /> ===Formation of Chinese characters===<br /> <br /> ====Pictograms====<br /> <br /> Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &quot;sun,&quot; 月 (yuè) for &quot;moon,&quot; and 木 (mù) for &quot;tree.&quot;<br /> <br /> ====Pictophonetic compounds====<br /> <br /> Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.<br /> <br /> ====Ideograph ====<br /> <br /> Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &quot;knife,&quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &quot;blade.&quot; Other common examples are 上 (shàng) for &quot;up&quot; and 下 (xià) for &quot;down.&quot; This category is small, as most concepts can be represented by characters in other categories.<br /> <br /> ====Logical aggregates====<br /> <br /> Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light.<br /> <br /> ====Associate transformation====<br /> <br /> Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &quot;elderly person,&quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.<br /> <br /> ====Borrowing ====<br /> <br /> Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)<br /> <br /> ===Simplification of Chinese characters===<br /> <br /> The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)<br /> <br /> ===Terms and expressions===<br /> <br /> 1.Oracle Bone Inscriptions  甲骨文<br /> <br /> 2.Bronze Inscriptions 金文<br /> <br /> 3.Small seal characters 小篆<br /> <br /> 4.Official script 隶书<br /> <br /> 5.Regular script 楷书<br /> <br /> 6.Cursive writing 草书<br /> <br /> 7.Cang Jie 仓颉<br /> <br /> <br /> 8.Clerical script 楷书<br /> <br /> 9.Su Shi 苏轼<br /> <br /> 10. Wang Xizhi 王羲之<br /> <br /> 11.Ou Yangxun 欧阳询<br /> <br /> 12.Yan Zhenqing 颜真卿<br /> <br /> 13.Pictograms 象形<br /> <br /> 14. Pictophonetic compounds 指事<br /> <br /> 15.Ideograph 会意<br /> <br /> 16.Logical aggregates 形声<br /> <br /> 17.Associate transformation 转注<br /> <br /> 18.Borrowing 假借<br /> <br /> ===Question===<br /> 1.How many Chinese characters are there?<br /> <br /> 2.How many letters are in the Chinese alphabet?<br /> <br /> 3. How many formations of Chinese characters? What are they?<br /> <br /> ===Answers===<br /> 1. According to the latest statics, there are nearly 91251 Chinese characters recorded .<br /> <br /> 2. There are 26 letters in Chinese alphabet.<br /> <br /> 3. Six formations are included in Chinese characters system, and they are Pictograms<br /> Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing<br /> <br /> ===References===<br /> <br /> 1.王显春. 汉字的起源[M]. 学林出版社, 2002.<br /> <br /> 2.刘又辛. &quot;关于汉字发展史的几个问题(上).&quot; 语文建设 12(1998):34-37.<br /> <br /> 3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188<br /> <br /> 4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.<br /> <br /> ==Chinese Knots - Guan Qinqing 管钦清==<br /> <br /> ===A.Chinese Knots===<br /> <br /> ====1.A Brief Introduction about Chinese Knots====<br /> <br /> The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It <br /> <br /> originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.<br /> <br /> The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.<br /> <br /> The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and <br /> <br /> personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which <br /> <br /> earned the knot its name.<br /> <br /> ====2.The Classification of Chinese Knots====<br /> <br /> There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥<br /> <br /> 结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井<br /> <br /> 结）,Cross Knot(十字结） and Ping Knot（平结）.<br /> <br /> Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. <br /> <br /> =====2.1.The Double Coin Knot=====<br /> <br /> Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views <br /> <br /> on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only <br /> <br /> represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &quot;luck money&quot;. Therefore, for <br /> <br /> the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes <br /> <br /> &quot;good things come in pairs&quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful <br /> <br /> patterns, such as clouds and Perfect Knots，etc.<br /> <br /> =====2.2.The Good Luck Knot=====<br /> <br /> As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.<br /> <br /> And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.<br /> <br /> =====2.3.The Pan Chang Knot=====<br /> <br /> Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the <br /> <br /> avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is <br /> <br /> often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.<br /> <br /> ====3.The Knitting Method of Chinese Knots====<br /> <br /> The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.<br /> <br /> The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.<br /> <br /> ====4.The Cultural Connotations of Chinese Knots====<br /> <br /> Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of <br /> <br /> rope and thread.In Chinese， &quot;rope&quot; (绳）and &quot;god&quot; （神）are homophonic, so the Chinese nation has a worship of &quot;rope&quot;. In addition, Chinese people are descendants of <br /> <br /> dragons.Because the shape of &quot;rope&quot; is like a winding dragon, people also regard &quot;rope&quot; as a symbol of dragon. Chinese people also have their own unique understanding of <br /> <br /> &quot;knot&quot;, which means reunion and happiness. Many of the Chinese words composed of &quot;结&quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交<br /> <br /> （making friends), and 永结同心（tie the knot),etc. &quot;结&quot;(knot) is also homonymous with &quot;吉&quot;（ausipiciousness), so people even think that &quot;knot&quot; is a symbol of good luck.<br /> <br /> ====5.Comparisons between Chinese Knots and Cross Necklaces====<br /> <br /> =====5.1.Different Cultural Connotations=====<br /> <br /> From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of <br /> <br /> Christianity. The cross, derived from the Latin &quot;crux&quot;, means &quot;fork&quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient <br /> <br /> Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross <br /> <br /> ornaments in the west as cross necknaces are usually used to represent love and salvation.<br /> <br /> =====5.2.Different Shapes=====<br /> <br /> Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have <br /> <br /> different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.<br /> <br /> ====6.References====<br /> <br /> 李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.<br /> <br /> 李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.<br /> <br /> 许星.路论中国结[J].丝绸,2004(02) : 46-47.<br /> <br /> 邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.<br /> <br /> 王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.<br /> <br /> ===B. Terms and Expressions===<br /> <br /> Double Coin Knot 双钱结<br /> <br /> Good Luck Knot 吉祥结<br /> <br /> Chinese Button Knot 纽扣结<br /> <br /> Sauvastika Knot 万字结<br /> <br /> Oxalis Knot 酢浆草结<br /> <br /> Pan Chang Knot 盘长结<br /> <br /> Round Brocade Knot 团锦结<br /> <br /> Caisson Celling Knot 藻井结<br /> <br /> Cross Knot 十字结<br /> <br /> Ping Knot 平结<br /> <br /> tie the knot 永结同心<br /> <br /> luck money 压岁钱<br /> <br /> the bishop's identity 主教职权<br /> <br /> ===C. Questions===<br /> <br /> 1. What is the Chinese knot?<br /> <br /> 2. Do you know the names of the main Chinese knots? What are they?<br /> <br /> 3. What do &quot;绳&quot; and &quot;结&quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> ==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==<br /> <br /> [[File:Chinese Mythology.jpg|thumb|right|Panku]]<br /> <br /> ===Introduction===<br /> <br /> The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.<br /> <br /> ===A. Panku Created the World===<br /> <br /> In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).<br /> <br /> At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 &quot;li&quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).<br /> Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.<br /> <br /> ===B. NuWa Created Human Beings===<br /> <br /> [[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]<br /> <br /> Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).<br /> <br /> As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.<br /> <br /> During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.<br /> <br /> ===C. Fushi Taught the People=== <br /> <br /> In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .<br /> <br /> Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &quot;trigrams&quot;, in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This &quot;trigrams&quot; was also a mean to interpret future and consult oracle about the right ways to follow.<br /> <br /> Finally, Fushi gave his last gift (music) in order people can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &quot;pipa&quot; (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history. Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. <br /> <br /> ===D. Water War===<br /> <br /> Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as a very big giants with different shapes, Gong shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).<br /> <br /> Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).<br /> <br /> In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.<br /> <br /> ===E. Terms and Expressions===<br /> <br /> Chinese Mythology 中国神话<br /> <br /> Panku 盤古<br /> <br /> Yin/Yang 陰陽 / 阴阳<br /> <br /> Nuwa 女媧<br /> <br /> Fushi 伏羲<br /> <br /> Water War 水战<br /> <br /> ===F. Questions===<br /> <br /> 1. Why an egg a good symbol for the beginning of the world?<br /> <br /> 2. Why Nuwa decided to create human beings?<br /> <br /> 3. What did Fushi taught to people?<br /> <br /> 4. What was the cause of Gong and Zurong’s war and who won?<br /> <br /> ===G. Answers===<br /> <br /> 1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.<br /> <br /> 2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.<br /> <br /> 3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.<br /> <br /> 4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.<br /> <br /> ===References===<br /> <br /> 1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.<br /> <br /> 2. Irene Dea Collier. (2001). &quot;Chinese Mythology&quot;. Library of Congress Cataloging-in-Publication Data.<br /> <br /> 3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg<br /> <br /> 4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)<br /> <br /> ==Gods and Immortals - Gui Yizhi 桂一枝==<br /> <br /> ===Chinese gods and immortals===<br /> <br /> ====Chinese mythology system====<br /> <br /> Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.<br /> <br /> Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.<br /> <br /> The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).<br /> <br /> Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &quot;Way&quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.<br /> <br /> At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &quot;most widely beloved Buddhist Divinity&quot; with miraculous powers to assist all those who pray to her.<br /> <br /> ====神 shén, 帝 dì and 仙 xiān====<br /> <br /> Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. dì, sometimes translated as &quot;thearch&quot;, implies a manifested or incarnate &quot;godly&quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.<br /> <br /> ====Eight immortals====<br /> <br /> The Eight Immortals are a group of legendary xian (&quot;immortals&quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &quot;Covert Eight Immortals&quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.<br /> <br /> The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism. <br /> <br /> The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &quot;The Eight Immortals cross the sea, each reveals its divine powers&quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.<br /> <br /> ===Terms and Expressions===<br /> <br /> immortals 仙 <br /> <br /> mythology 神话，神话学<br /> <br /> cosmology 宇宙论，宇宙观 <br /> <br /> monolithic 整体（式）的<br /> <br /> the Battle of Zhuolu 涿鹿之战<br /> <br /> pantheistic 泛神论的 <br /> <br /> polytheistic 多神论的<br /> <br /> Three Pure Ones 三清<br /> <br /> anthropomorphic 人格化的<br /> <br /> tutelary 守护神 <br /> <br /> deity 神<br /> <br /> Buddha 佛 <br /> <br /> Shakyamuni 释迦牟尼<br /> <br /> Amitabha 阿弥陀佛 <br /> <br /> Amitāyus 无量寿佛<br /> <br /> celestial 天的 <br /> <br /> Bodhisattva 菩萨 <br /> <br /> Pure Land 极乐世界 <br /> <br /> vessels 法器<br /> <br /> Covert Eight Immortals 暗八仙 <br /> <br /> Taoist 道家的，道士<br /> <br /> ===Questions===<br /> <br /> 1. What are the topics of the Ancient mythology?<br /> <br /> 2. What are the differences among shén, dì and xiān?<br /> <br /> 3. What do the Eight immortals represent respectively?<br /> <br /> ===Answers===<br /> 1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.<br /> <br /> 2. shén and dì corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> 3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.<br /> <br /> ===References===<br /> <br /> [1]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.pp11-12<br /> <br /> [2]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.pp.63-67 <br /> <br /> [3]柏杨．中国人史纲：时代文艺出版社，1987.pp. 34-40<br /> <br /> [4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear &amp; Company.pp.27-28 <br /> <br /> [5]Buddhism, the Fulfilment of Hinduism P37<br /> <br /> [6]胡亚楠. 从神到仙：先秦时期神仙信仰的形成因素研究[D].哈尔滨师范大学,2020.<br /> <br /> [7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.pp. 200-201<br /> <br /> [8]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [9]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [10]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago. pp. 313, 319–334.<br /> <br /> ==Literature, Tang and Song - Guo Lu 郭露 202070080588==<br /> <br /> ===Classical Prose Movement of late Tang Dynasty and Song Dynasty===<br /> <br /> ====Introduction====<br /> <br /> “The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its deep.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)<br /> <br /> ====Development====<br /> <br /> The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)<br /> <br /> However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)<br /> <br /> After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) <br /> <br /> ====Representatives====<br /> <br /> '''1.Han Yu'''<br /> <br /> Han Yu (768 – 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &quot;Eight Great Prose Masters of the Tang and Song&quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)<br /> <br /> Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)<br /> <br /> '''2.Liu Zongyuan'''<br /> <br /> Liu Zongyuan (773 – 819), courtesy name Zihou, also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese literature, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &quot;Jiangxue&quot;. (Yang Shengli 2020, 42-44)<br /> <br /> '''3.Ouyang Xiu'''<br /> <br /> Ouyang Xiu (1007 – 1072), courtesy name Yong Shu, also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)<br /> <br /> Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)<br /> <br /> Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)<br /> <br /> ====Masterworks====<br /> <br /> Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)<br /> <br /> ====Influence====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)<br /> <br /> ====Terms and Expressions====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家<br /> <br /> Classical Prose Movement 古文运动<br /> <br /> ''Eight Records of Excursions in Yongzhou'' 《永州八记》<br /> <br /> ''On Teachers'' 《师说》<br /> <br /> ''New Book of Tang'' 《新唐书》<br /> <br /> ''Historical Records of the Five Dynasties'' 《新五代史》<br /> <br /> ''Zuiweng Tingji'' 《醉翁亭记》<br /> <br /> ''Shang Zhongyong'' 《伤仲永》<br /> <br /> ''On Jia Yi'' 《贾谊论》<br /> <br /> ''First Ode to the Red Cliff'' 《赤壁赋》<br /> <br /> ====Questions====<br /> <br /> 1. Who were the first promoters of the Classical Prose Movement?<br /> <br /> 2. What does the Classical Prose Movement mean?<br /> <br /> 3. What's political and religious purposes of the Classical Prose Movement?<br /> <br /> ====Answers====<br /> <br /> 1. The first promoters of this movement were Han Yu and Liu Zongyuan.<br /> <br /> 2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.<br /> <br /> 3. The reason what Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.<br /> <br /> ====References====<br /> <br /> Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.<br /> <br /> Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.<br /> <br /> Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.<br /> <br /> Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.<br /> <br /> Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.<br /> <br /> Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.<br /> <br /> Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.<br /> <br /> ==The tradition of Red envelope and Lucky money - Ha, Thi Thu Hang - 201921080008==<br /> <br /> ===The Chinese Red Envelope and Lucky money tradition===<br /> <br /> In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.<br /> <br /> ====The Legend====<br /> <br /> In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> <br /> One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> There are also other legends about this custom related to the son Duong Quy Phi of the Tang dynasty - China and the Qin dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.<br /> <br /> ====The tradition====<br /> <br /> The Chinese custom of lucky money is called &quot;Hongbao&quot;. Chinese people really like red, so the lucky money is always red, symbolizing luck and happiness. The red envelope is called yasui qian (压岁钱 /Yāsuìqián/), which means &quot;suppressing ghosts money&quot;. Those who receive a red envelope are wished another safe and pea Sending red envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese lucky money must avoid the number 4 and be sealed. The children, after receiving the lucky money, do not open it immediately, but have to put it all under the pillow after about a week to open it, it is impolite to open a red envelope in front of the person who gives it to you. The meaning of this is for the lucky money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese lucky money.<br /> <br /> Red envelopes, also called red packets, lucky money, or &quot;hongbao&quot; in Chinese, &quot;li shi&quot; / &quot;li xi&quot; in Vietnamese are a popular monetary gift given on some important occasions or festivals in China, Vietnam, Korea, Japan, some other Asian countries, especially widely seen during the Chinese New Year (Spring Festival). During Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into.<br /> <br /> ====Outside of China====<br /> <br /> The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent.<br /> <br /> Each country has different ways of lucky money and changes over time, but the basic custom of lucky money is to want to send wishes of peace to all relatives and friends in the new year.<br /> In Vietnam, the Lunar New Year is one of the great holidays of the year. The traditional New Year's customs are still preserved, in which the lucky money is typical. On the first day of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give lucky money to the children with the message of good luck, good care and good study. Today, the tradition of lucky money in Vietnam is also expanded in the direction that children give lucky money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.<br /> <br /> In Japan, lucky money is called Otoshidama. Unlike other countries, the amount of Japanese lucky money depends on the child's age, the relationship of the family. Otoshidama red envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese red envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the lucky money will be written on the red envelope to show respect for the recipient. The message of each Otoshidama red envelopes is a wish for a warm, peaceful and lucky new year.<br /> <br /> In Korea, the lucky money is called Sabae. On New Year's Day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive lucky money together with wishes for health and peace in the new year. The lucky money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems...<br /> <br /> ===Terms and Expressions===<br /> Luckymoney 利市 /Lì shì/ <br /> <br /> Red envelope 紅包 /Hóngbāo/ <br /> <br /> Confucianism 儒教 /Rújiào/ <br /> <br /> Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/<br /> <br /> ===Questions===<br /> <br /> 1. Do you know the origin of giving Lunar new year lucky money to children？<br /> <br /> ===Answers===<br /> <br /> 1. In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> ===References===<br /> https://en.wikipedia.org/wiki/Red_envelope [https://en.wikipedia.org/wiki/Red_envelope]<br /> <br /> ==Calendar, The 24 Solar Terms - He Changqi 何长琦==<br /> ==='''The Twenty-four Solar Terms'''===<br /> <br /> ===1. The orgin and development of the twenty-four solar terms===<br /> <br /> “The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）<br /> <br /> ===2. The definition and classification of the twenty-four solar terms===<br /> <br /> “The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. <br /> A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate. The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.<br /> (Yuan Jixi 2016:)<br /> <br /> ===3.Folklore of the 24 solar terms===<br /> <br /> The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the &quot;whipping of the spring bull&quot; at the beginning of spring and the &quot;tailing festival&quot; at the end of the cold season. Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &quot;the unity of heaven and man, in accordance with the four seasons&quot;, the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. <br /> <br /> These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &quot;biting the spring&quot; on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)<br /> <br /> ===4.Importance and values===<br /> <br /> ===4.1 Importance in ancient times===<br /> <br /> The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. The 24 solar terms have played an important role in the life and work of traditional Chinese people.<br /> Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that &quot;if the agricultural time is not violated, there will be sufficient grain supply.&quot; (Mencius - Liang Huiwang). Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives. For example, the &quot;Four Beginnings&quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)<br /> <br /> ===4.2 Values in modern society===<br /> <br /> In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation. It still has its practical values in modern society.<br /> Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture. Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature. Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)<br /> <br /> ===Terms and Expressions===<br /> <br /> the Beginning of Spring 立春<br /> <br /> Beginning of Autumn 立秋<br /> <br /> Rain Water 雨水 <br /> <br /> End of Heat 处暑<br /> <br /> Insects Awakening 惊蛰 <br /> <br /> White Dew 白露<br /> <br /> Spring Equinox 春分 <br /> <br /> Autumnal Equinox 秋分<br /> <br /> Fresh Green 清明 <br /> <br /> Cold Dew 寒露<br /> <br /> Grain Rain 谷雨 <br /> <br /> First Frost 霜降 <br /> <br /> Beginning of Summer 立夏 <br /> <br /> Beginning of Winter 立冬<br /> <br /> Lesser Fullness 小满 <br /> <br /> Light Snow 小雪<br /> <br /> Grain in Ear 芒种 <br /> <br /> Heavy Snow 大雪<br /> <br /> Summer Solstice 夏至<br /> <br /> Winter Solstice 冬至<br /> <br /> Lesser Heat 大暑<br /> <br /> Lesser Cold 小寒<br /> <br /> Greater Heat 立春 <br /> <br /> Greater Cold 大寒<br /> <br /> ===Questions===<br /> 1.1.What are the first four solar terms measured by ancient Chinese people?<br /> <br /> 2.Where does the 24 solar terms originate from?<br /> <br /> 3. What are the eight solar terms that reflect seasonal changes？<br /> <br /> 4.When was included in the World Intangible Cultural Heritage List? <br /> <br /> 5.What are the food customs in the Beginning of Spring?<br /> <br /> 6.Do you konw any other folklore of the 24 solar terms?<br /> ===Answers===<br /> 1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.<br /> <br /> 2.It originated in the Yellow River valley.<br /> <br /> 3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice<br /> <br /> 4.In 2016.<br /> <br /> 5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.<br /> <br /> 6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the &quot;Sage of Medicine&quot;, invented the &quot;jiaozi&quot; to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as &quot;dumpling&quot; or jiaozi. Today there is still a saying that goes &quot;Eat dumplings on Start of Winter Day, or your ears will be frostbitten.&quot;<br /> <br /> ===References===<br /> Yuan Jix. 袁济喜. (2016). &quot;中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)<br /> <br /> Wang Jiahua. 王加华.（2019.9.20）&quot;China Social Science Network&quot; http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml<br /> <br /> Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）&quot;Chinanews&quot; http://www.chinanews.com/cul/2020/11-17/9340057.shtml <br /> <br /> He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html<br /> <br /> ==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==<br /> <br /> ===Collection of Yue Fu Poetry《乐府诗集》===<br /> <br /> ====Introduction====<br /> <br /> '''1.Brief introduction'''<br /> <br /> ''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. &quot;Yuefu&quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)<br /> <br /> '''2.About the author'''<br /> <br /> Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation.(Wu Ting 2007, 22)<br /> <br /> '''3.Content introduction'''<br /> <br /> It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &quot;Yuefu Poetry Collection&quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties.(Wu Ting 2007, 30)<br /> <br /> ====Masterpieces====<br /> <br /> '''1.''The Peacock Flies to Southeast'''''<br /> <br /> ''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit.As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed.(Wu Ting 2007, 36)<br /> <br /> '''2.''Mulan Poetry'''''<br /> <br /> ''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &quot;Mulan is a girl&quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)<br /> <br /> ====Evaluation====<br /> <br /> '''1.Contributions'''<br /> <br /> The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &quot;Moshangsang&quot;, &quot;dongmenxing&quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. Yuefu Poetry Collection introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)<br /> <br /> '''2.Shortcomings'''<br /> <br /> There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)<br /> <br /> ===References===<br /> Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)<br /> <br /> Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Collection of Yue Fu Poetry''《乐府诗集》<br /> <br /> Jiaomiao songs郊庙歌辞<br /> <br /> Yanshe songs燕射歌辞<br /> <br /> Guchui drum songs鼓吹曲辞<br /> <br /> Hengchui songs横吹曲辞<br /> <br /> Xianghe songs相和歌辞<br /> <br /> ''The Peacock Flies to Southeast'' 《孔雀东南飞》<br /> <br /> ''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)<br /> <br /> ===Questions===<br /> <br /> 1.When was Yuefu Poetry compiled？<br /> <br /> 2.Which institution did &quot;Yuefu&quot; belong to?<br /> <br /> 3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.In Song Dynasty.<br /> <br /> 2.It belongs to the institution in charge of music.<br /> <br /> 3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)<br /> <br /> ==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==<br /> <br /> ===Eight Major Cuisines of China===<br /> <br /> ====1. A Brief Introduction About Chinese Cuisine====<br /> As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &quot;four major cuisines.&quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &quot;eight major cuisines&quot; of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)<br /> <br /> ====2. The Classification of Chinese Cuisines====<br /> <br /> China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)<br /> <br /> =====2.1 Shandong Cuisine=====<br /> Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)<br /> =====2.2 Sichuan Cuisine=====<br /> Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one <br /> of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)<br /> =====2.3 Guangdong Cuisine=====<br /> Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)<br /> =====2.4 Fujian Cuisine=====<br /> Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &quot;pickled taste&quot;. (Shi Hongmei 2009, 55)<br /> =====2.5 Jiangsu Cuisine=====<br /> Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)<br /> =====2.6 Zhejiang Cuisine=====<br /> Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)<br /> =====2.7 Hunan Cuisine=====<br /> Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)<br /> =====2.8 Anhui Cuisine=====<br /> Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)<br /> <br /> ====3. A Comparison of Chinese-Western Diet Culture====<br /> <br /> Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)<br /> <br /> Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods.(Caihua 2009, 57)<br /> <br /> ====References====<br /> <br /> Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.<br /> <br /> Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.<br /> <br /> Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.<br /> <br /> Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．<br /> <br /> Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.<br /> <br /> ===Terms and Expressions===<br /> <br /> pot-stewed fowl 卤味<br /> <br /> stewing and simmering 炖，煨<br /> <br /> prickly ash 花椒<br /> <br /> fermented soybean 豆鼓<br /> <br /> Braised Dongpo Pork 东坡肉<br /> <br /> Buddha Jumps over the Wall 佛跳墙<br /> <br /> Kung Pao Chicken 宫保鸡丁<br /> <br /> Bean Sauce Tofu 麻婆豆腐<br /> <br /> ===Questions===<br /> 1. How many types of cuisines are there in china?<br /> <br /> 2. What’s differences between Chinese and western diets?<br /> <br /> 3. What is the origin of Dongpo Meat?<br /> <br /> ===Answers===<br /> 1. Eight<br /> <br /> 2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. <br /> <br /> 3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.<br /> <br /> ==Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting==<br /> <br /> Chinese Paper Cutting 剪纸<br /> <br /> ===Text===<br /> ===Introduction===<br /> The art of paper cutting in China may date back to the second century CE, since paper was invented by Cai Lunin the Eastern Han Dynasty in China. As paper became more affordable, paper-cutting became one of the most important types of Chinese folk art. Later, this art form spread to other parts of the world, with different regions adopting their own cultural styles. Because the cut-outs are often used to decorate doors and windows, they are sometimes referred to as chuanghua, window flowers or window paper-cuts. People glued the papercuts to the exterior of windows, so the light from the inside would shine through the negative space of the cutout.[1] Usually, the artworks are made of red paper, as red is associated with festivities and happiness in Chinese culture, but other colours were also used. Normally paper-cutting artwork is used on festivals like Spring Festival weddings and childbirth. Paper-cuting always symbolizes luck and happiness.<br /> <br /> ===History===<br /> The paper was invented in the Western Han Dynasty (6th century BC), before which there was no paper-cut art. However, at that time, people used thin-film materials to make handicrafts by hollowing out carving techniques, which had been popular since before paper appeared, that is, carving, carving, carving and cutting techniques were used to carve patterns on gold foil, leather, silk and even on leaves. In the historical records, the brother of the cutting Tung Tong describes the Zhou Dynasty king of the Western Zhou Dynasty who cut his &quot;Guiyu&quot; to his brother by using Wutong leaves and Feng Ji Yu to Tang as Hou. During the Warring States period, leather engraving (one of the cultural relics unearthed from No.1 Chu tomb in jianglingwangshan, Hubei Province) and silver foil hollowed out and engraved patterns (one of the cultural relics unearthed from the Warring States site in Guwei village, Huixian County, Henan Province) were used in the Warring States period. Their appearance laid a certain foundation for the formation of folk paper-cut. In the southern and Northern Dynasties, &quot;Mulan Ci&quot; has the poem &quot;yellow to the mirror&quot;. The earliest paper-cut work in China was found in the Northern Dynasty period (386-581 A.D.) unearthed near the Flame Mountain in Turpan, Xinjiang. These paper-cut, the use of repeated folding and image processing techniques.<br /> <br /> In the Ming and Qing Dynasties, the paper-cut handicraft became mature and reached its peak. Folk paper-cut handicrafts are more widely used, such as flower decorations on folk lanterns, patterns on fans, and embroidery patterns, etc., all of which are decorated with paper-cut for reprocessing [9]. What's more, Chinese people often use paper-cut as decoration to beautify the home environment. For example, door stacks, window decorations, cabinet flowers, flower lovers and ceiling flowers are used to decorate doors, windows and rooms.<br /> <br /> At the beginning of the 20th century, the &quot;May 4th&quot; New Culture Movement established the rudiment of Chinese folklore under the advocacy of advanced intellectuals Cai Yuanpei, Lu Xun, Liu Bannong and Zhou Zuoren. They widely collect folk literature materials, but also strive to collect folk art works, including folk paper-cut. In the 1930s, artist Chen Zhinong began the research and creation of folk paper-cut in Beijing. He used sketches and silhouettes to depict a large number of customs and customs in old Beijing, such as street vendors, workshop craftsmen, food stalls and tea picking, markets, temple fairs, and market idlers.<br /> <br /> ===Five Regions===<br /> <br /> <br /> ===Techniques===<br /> ===References===<br /> <br /> ===Terms and Expressions===<br /> <br /> ===Questions===<br /> <br /> ===Answers===<br /> <br /> ==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==<br /> <br /> ===The Chinese Medical Sage - Zhang Zhongjing===<br /> <br /> Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)<br /> <br /> Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)<br /> <br /> This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)<br /> <br /> Later, people called the doctor who sat in the drugstore to treat patients &quot;the doctor sitting in the hall&quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)<br /> <br /> When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)<br /> <br /> There is a Chinese saying that goes, &quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)<br /> <br /> When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)<br /> <br /> Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &quot; Cold Dispelling Jiaoer Soup&quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)<br /> <br /> Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &quot;Cold Dispelling Jiaoer Soup&quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &quot;Cold Dispelling Jiaoer Soup&quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)<br /> <br /> In fact, the way of making &quot;Cold Dispelling Jiaoer Soup&quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &quot;Jiao Er&quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&quot; (首都医药 2003, 40)<br /> <br /> At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)<br /> <br /> <br /> [[File:Zhang_Zhongjing.jpg]]<br /> <br /> ===References===<br /> <br /> 2003(17). 张仲景故乡的二十四个故事(六) 饺子的来历[J]. 首都医药.<br /> <br /> Zhang Maoyun 张茂云. 2014(04). 伤寒杂病论成书年代及仲景生平年代考历[J]. 中国中医药现代远程教育.<br /> <br /> Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. 2013(07). “医圣”张仲景[J]. 中国卫生人才.<br /> <br /> Zhang Deli 张德礼. 2019(05). 心系百姓的“医圣”张仲景[J]. 现代班组.<br /> <br /> Tan Rongzhou 覃荣周. 2013(07). 张仲景对我国医学发展的历史贡献[J]. 兰台世界.<br /> <br /> Zhao Qingxin 赵清新. 1999(05). 万世医宗张仲景[J]. 解放军健康.<br /> <br /> 2020(03). 张仲景:“医圣”之名传天下[J]. 天一. 月读.<br /> <br /> ===Terms and Expressions===<br /> <br /> medical sage 医圣<br /> <br /> Treatise on Febrile and Miscellaneous Diseases《伤寒杂病论》<br /> <br /> treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治<br /> <br /> yamen 衙门<br /> <br /> Great Cold ( 24th solar term ) 大寒<br /> <br /> Slight Cold ( 23rd solar term ) 小寒<br /> <br /> look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切<br /> <br /> Cold Dispelling Jiaoer Soup 祛寒娇耳汤<br /> <br /> ===Questions===<br /> <br /> 1. What's the honorable title Zhang Zhongjing addressed as?<br /> <br /> 2. What's the official role Zhang once taken?<br /> <br /> 3. When would Zhang treat patients for free at yamen?<br /> <br /> 4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?<br /> <br /> 5. What's the relationship between Zhang Zhongjing and dumplings?<br /> <br /> ===Answers===<br /> <br /> 1. Chinese Medical Sage.<br /> <br /> 2. Changsha magistrate.<br /> <br /> 3. He treated patients for free on the first and fifteenth days of every lunar month.<br /> <br /> 4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.<br /> <br /> 5. Dumplings are derived from the recipe &quot; Cold Dispelling Jiaoer Soup&quot; developed by Zhang Zhongjing.<br /> <br /> --[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)<br /> <br /> ==Architecture, Qingming Riverside Landscape Garden-Zeng Liang 曾良 （major）202070080578==<br /> <br /> ===Introduction===<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, and covering an area of more than 600 acres, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the Northern Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park covering an area of more than 600 acresand showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the earlier Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and also, the first batch of 5A-level tourist attractions and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)(文件无效)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng as the capital of the Northern Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, People can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng, the capital of the earlier Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, people can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> There are eight functional zones including posthouse, folk custom, characteristic food street, demonstration of culture in Song Dynasty, flower, bird, fish, bug, prosperous capital, leisure and shopping, and integrated service, and four cultural zones including military drill ground, Rainbow Bridge, folk custom, and capital of Song Dynasty. The main architechtures of the garden include gate building, rainbow bridge, street view, stores, river channels, wharfs and ships. According to the original layout of ''Riverside Scene at Qingming Festival'', the garden presents the fabrications on site such as wine shops, teahouses, pawnshops, Bian (today’s Kaifeng) embroideries, official porcelains, and New Year paintings, gathers folk performance, vaudeville, and drum performance. (Gao Jing 2010,18)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050, and it was reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The Fuyun Pavillion is 31.99 meters high and it is the tallest building in the garden. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050 and reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The tallest building in the garden, the Fuyun Pavillion is 31.99 meters high. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> Every year, Qingming Riverside Landscape Garden will hold a series of cultural festivals, such as folk cultural festival of Song Dynasty, Qingming cultural festival, and chrysanthemum cultural festival. During the folk cultural festival of Song Dynasty, the scenic spot will gather unique folk performances across the country, such as flower-drum on the high platform, stilt, dragon dance, lion dance, small Henan opera. The international lantern exhibition is the highlight of folk cultural festival of Song Dynasty. A visual feast will be brought by auspicious tradition of Chinese Pavilion, the fresheness and refineness of Asian Pavilion, simplicity and fashion of European Pavilion, the quaint Buddhism of the Southeast Asia Pavilion, and the luxurious atmosphere of the African Pavillion. During the Qingming Festival, the garden will hold some Qingming cultural festivals to promote traditional festival culture. At that time, vistors can have an outing in spring, plant willion trees, watch folk customs, taste snacks, and enjoy the large-scale water live performances called ''“Luxuriant Dream of the East Capital of the Great Song Dynasty”.'' This event combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. Chrysanthemum cultural festival is another grand festivl in the garden, during which all kinds of chrysanthemums will be presented.The annual chrysanthemum festival in Kaifeng is held from October to November. Qingming Riverside Landscape Garden focuses on beautiful chrysanthemum plants, and makes full of architectures, sculptures, mountains, the surface of the water and association of activity and inertia to highlight the cultivated and creative skills of Kaifeng people. Chrysanthemums are changed into various shapes, which attracted thousands of visitors from all over the world. In the exhibition, visitors can enjoy and appreciate some species of chrysanthemum that are rarely seen in our daily life. (Zhang Lu 2013,24)<br /> <br /> There are vaious performances presented in the Qingming Riverside Landscape Garden, such as ''Luxuriant Dream of the East Capital of the Great Song Dynasty'', ''Baogong Salute to Guests'', ''Spitting Fire Show'', '''Cockfight''', ''Women’s Polo'' and so on. Among these formances, ''Luxuriant Dream of the East Capital of the Great Song Dynasty'' is a representative show of the garden. It is a large-scale live water performance produced by Qingming Riverside Landscape Garden. The performance is lasted for 70 minutes and is performed by more than 700 actors. It is a scroll about the heyday of the Northern Song Dynasty. The bustling scene of the Song Dynasty market, the prosperity of the capital of Bianliang(today’s Kaifeng), the mighty momentum of luxurious neighboring countries, the tragedy of wars, and the sustenance of blessings constitute a wash painting with a combination of noise and tranquility.(Gao Jing 2010,16)<br /> <br /> Ancient Chinese architectures and western architectures are different. The ancient architectures of China can be divided into palace architecure, religious architecture, mansion architecture and public architecture, which can be seen in the Qingming Riverside Landscape Garden. Compared with the Gothic architecture during the Middles Ages of the western Europe, the architecture of Song Dynasty shows a delicate and soft style, with complex forms of palaces, terraces, towers and pavilions, while Gothic archetecture is magnificent and exquisite. It has pointed vaults, which give people a visual impact and have a strong religious color.(Pang Runxin 2019,10)<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Qingming Riverside Landscape Garden'' 清明上河园<br /> <br /> ''Riverside Scene at Qingming Festival''《清明上河图》<br /> <br /> Rainbow Bridge虹桥<br /> <br /> Fuyun Pavillion浮云阁<br /> <br /> Shangshan Gate 上善门<br /> <br /> chrysanthemum菊花<br /> <br /> ''Baogong Salute to Guests''包公迎宾<br /> <br /> ''Spitting Fire Show''气功喷火<br /> <br /> ''Cockfight''斗鸡<br /> <br /> ''Women’s Polo''女子马球<br /> <br /> ''Luxuriant Dream of the East Capital of the Great Song Dynasty''《大宋·东京梦华》<br /> <br /> ===Questions===<br /> <br /> 1.What is the location of ''Qingming Riverside Landscape Garden''?<br /> <br /> 2.What’s the role of ''Qingming Riverside Landscape Garden'' in China?<br /> <br /> 3.When was ''Qingming Riverside Landscape Garden'' opened to the public?<br /> <br /> 4.Who is the painter of ''Piverside Scene at Qingming Festival''?<br /> <br /> 5.Which dynasty of the painting ''Qingming Riverside Landscape Garden'' present?<br /> <br /> 6.What does the name of ''Fuyun Pavilion'' mean?<br /> <br /> 7.What’s the characteristics of the performance of ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> 8.Can you please list some kinds of performance of ''Qingming Riverside Landscape Garden'' besides ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> ===Answers===<br /> <br /> 1.It is located on the west bank of ''Dragon Pavilion'' in Kaifeng, Henan Province.<br /> <br /> 2.In 2009, ''Qingming Riverside Landscape Garden'' was chosed as China’s first theme park in the style of the ancients by ''China World Records Association''. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s ''intangible cultural heritage exhibition base''. <br /> <br /> 3.It was officially opened to the public on October 28, 1998.<br /> <br /> 4.Zhang Zeduan.<br /> <br /> 5.Northern Song Dynasty.<br /> <br /> 6.The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map.<br /> <br /> 7.It combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. <br /> <br /> 8.''Baogong Salute to Guests'', ''Spitting Fire Show'', ''Cockfight'', ''Women’s Polo''.<br /> <br /> ===References===<br /> <br /> Chen Kang 陈康.(2006).《清明上河园》的精彩场景——贯木拱虹桥[Excellent Scenes of Qingming Riverside Landscape Garden——Wooden Arch Rainbow Bridge].集邮博览Philatelic Panorama(07)62-63.<br /> <br /> Gao Jing高静.(2010). 清明上河园——玩转宋文化[Qingming Riverside Landscape Garden—Fully Experience the Culture of Song Dyansty].光彩Brilliance(04)16-19.<br /> <br /> Li Mei李梅.(2007).清明上河园特色建设与长远发展[Distinctive Architecture of Qingming Riverside Landscape Garden nd its Long Development].合作经济与科技Co-operative Economyand Science(8)10-12.<br /> <br /> Pang Runxin庞润昕.(2019).《清明上河图》的建筑艺术[Architectural Art in Paintings of Riverside Scene Qingming Festival].景德镇陶瓷大学Jingdezheng Ceramic Institute(06)10-16.<br /> <br /> Wei Tuo韦陀.(2006).张择端之《清明上河图》[Riverside Scene at Qingming Festival Painted by Zhang Zeduan].紫禁城Forbidden City（Z2)13-15.<br /> <br /> Zhang Lu张璐.(2013).清明上河园与宋都文化传承创新研究[Inheritance and Innovation Research Study of “Qingming River” Song Dynasty Theme Park].赤峰学院学报Chi Feng College Journal(05)23-27.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:06, 12 December 2020 (UTC) (标点符号之间需要空格）--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_1&diff=112942 2020-12-16T06:31:29Z

<p>Sagara Seydou 3: /* The Five Elements And YIN/YANG */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Astrology - Alsied, Saffana==<br /> &quot;Chinese Astrology&quot;--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 17:07, 18 November 2020 (UTC)<br /> <br /> ===The History===<br /> <br /> So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the source is coming from ?<br /> <br /> ===The Five Elements And YIN/YANG===<br /> <br /> Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation please?<br /> <br /> A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?<br /> <br /> ===THE FORCES OF YIN / YANG===<br /> <br /> Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.<br /> <br /> A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. <br /> <br /> Chinese astrology was invented to achieve the two following goals;<br /> <br /> 1.) To predict the future,<br /> <br /> 2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise. <br /> <br /> According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. <br /> <br /> Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. <br /> <br /> The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.<br /> <br /> You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Chinese Astrology 中国占星学<br /> <br /> 2. Chinese Zodiac 中国十二生肖<br /> <br /> 3. Agricultural calendar 农业日历<br /> <br /> 4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）<br /> <br /> 5. The Oriental philosophy 东方哲学<br /> <br /> ===Questions===<br /> <br /> 1-Why was Chinese astrology invented?<br /> <br /> 2-How Chinese astrology relates to a person’s divine destiny?<br /> <br /> 3-What important role does the Chinese zodiac play in Chinese culture?<br /> <br /> 4- What is Chinese astrology based on?<br /> <br /> 5-Is Chinese astrology accurate?<br /> <br /> ===Answers===<br /> 1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.<br /> <br /> 2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.<br /> <br /> 3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.<br /> <br /> 4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.<br /> <br /> 5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> ===References===<br /> <br /> Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9<br /> <br /> 何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591<br /> <br /> Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.<br /> <br /> Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.<br /> <br /> &quot;&quot;Almanac&quot; &quot;lunar&quot; zodiac beginning of spring as the boundary dislocation? — China Network&quot;. 16 February 2009. Retrieved 5 January 2011.<br /> <br /> Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.<br /> <br /> &quot;Five Elements(Wu Xing)&quot;. YourChineseAstrology.com<br /> <br /> ==Spring Festival Couplets - Cao Runxin 曹润鑫==<br /> [[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]<br /> <br /> ===Spring Festival Couplets===<br /> Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).<br /> <br /> Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).<br /> <br /> The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).<br /> <br /> There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).<br /> <br /> ===References===<br /> <br /> *Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.<br /> *Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.<br /> *Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.<br /> *Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.<br /> <br /> <br /> ===Terms and Expressions ===<br /> Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 <br /> <br /> Paste 贴<br /> <br /> Horizontal scroll 横联<br /> <br /> Upper scroll 上联<br /> <br /> Lower scroll 下联<br /> <br /> ===Questions ===<br /> 1.What’s the purpose of pasting Spring Festival Couplets?<br /> <br /> To expresses people’s delight in the festival and wishes for a better life in the coming year.<br /> <br /> 2.What’s the historical origin of Spring Festival Couplets?<br /> <br /> It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.<br /> <br /> 3.How to read the Spring Festival Couplets?<br /> <br /> First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. <br /> <br /> 4.How to do with the Old Couplets?<br /> <br /> Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.<br /> <br /> ==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - Translation 英语笔译==<br /> <br /> [[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]<br /> <br /> ===Guzheng===<br /> <br /> ''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.<br /> <br /> There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).<br /> <br /> The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)<br /> <br /> [[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=古筝&amp;step_word=&amp;hs=0&amp;pn=27&amp;spn=0&amp;di=9900&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3246661627%2C3658564396&amp;os=3335747328%2C3552694810&amp;simid=0%2C0&amp;adpicid=0&amp;lpn=0&amp;ln=1718&amp;fr=&amp;fmq=1607348039297_R&amp;fm=result&amp;ic=&amp;s=undefined&amp;hd=&amp;latest=&amp;copyright=&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;gsm=1c&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]for original source.]]<br /> <br /> The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)<br /> <br /> Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several other schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)<br /> <br /> In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang played the ''guzheng'' to merge the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)<br /> <br /> From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.<br /> <br /> ===References===<br /> <br /> *Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.<br /> *Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.<br /> *Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. <br /> *Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.<br /> *Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.<br /> *Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.<br /> *Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.<br /> <br /> ===Terms and Expressions===<br /> <br /> *Meng Tian 蒙恬 <br /> *Zhao Lin 赵璘<br /> *''Records on Words'' 《因话录》<br /> *anterior mountain 前岳山 <br /> *posterior mountain 后岳山<br /> *''Yan Zhu'' 雁柱 <br /> *string pegs 弦钉<br /> *turning box 调音盒 <br /> *zither feet 琴足<br /> *paulownia 桐木 <br /> *mahogany 红木<br /> *''Dai Mao'' 玳瑁<br /> *''Yi Jia'' 义甲<br /> *''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹<br /> *''High Mountains and Running Water'' 《高山流水》<br /> *''The Autumn Moon in the Han Palace'' 《汉宫秋月》<br /> *''Jackdaw Playing in the Water'' 《寒鸦戏水》<br /> *''The Tune of Liu Qing Niang'' 《柳青娘》<br /> *Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香<br /> *Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望<br /> *''National Music Ceremony'' 《国乐大典》<br /> <br /> ===Questions===<br /> <br /> 1. What kind of musical instrument does the ''guzheng'' belong to?<br /> <br /> 2. Why the ''guzheng'' is deeply loved by Chinese? <br /> <br /> 3. Who is Meng Tian? <br /> <br /> 4. According to the legend, how did the ''se'' develop into the ''zheng''?<br /> <br /> 5. How many strings does the ''guzheng'' have? How long is the guzheng?<br /> <br /> 6. What is the function of movable bridges?<br /> <br /> 7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? <br /> <br /> 8. In ancient times, what materials were the fingerpicks made of?<br /> <br /> 9. Generally speaking, how does the players strike notes? <br /> <br /> 10. What styles can ''guzheng'' be divided into?<br /> <br /> 11. Which school does ''The Autumn Moon in the Han Palace'' belong to? <br /> <br /> 12. Do you know any other ''guzheng'' music? Please list some pieces.<br /> <br /> ===Answers===<br /> <br /> 1. It belongs to plucked stringed instruments.<br /> <br /> 2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. <br /> <br /> 3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.<br /> <br /> 4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. <br /> <br /> 5. It usually has 21 strings and is 163 centimeters long. <br /> <br /> 6. They are moved to change the timbres.<br /> <br /> 7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.<br /> <br /> 8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.<br /> <br /> 9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. <br /> <br /> 10. The Northern school and the Southern school.<br /> <br /> 11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.<br /> <br /> 12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).<br /> <br /> ==Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581==<br /> ===Facial makeup===<br /> <br /> Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)<br /> <br /> People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)<br /> <br /> The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)<br /> <br /> Red<br /> <br /> Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.<br /> <br /> Black<br /> <br /> Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.<br /> <br /> White<br /> <br /> White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.<br /> <br /> Blue<br /> <br /> Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.<br /> <br /> Purple<br /> <br /> Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.<br /> <br /> Golden<br /> <br /> Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).<br /> <br /> The features of facial makeup are mainly as follows:<br /> First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.<br /> It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.(Cao Juan, 2019, 61)<br /> <br /> ===B. Terms and Expressions===<br /> <br /> painted face 花脸<br /> <br /> clown 丑角<br /> <br /> Sheng 生<br /> <br /> Dan 旦<br /> <br /> Jing 净<br /> <br /> Chou 丑<br /> <br /> Qingyi 青衣<br /> <br /> xiaosheng 小生<br /> <br /> laosheng 老生<br /> <br /> wusheng 武生<br /> <br /> Gao Changgong 高长恭<br /> <br /> legend，romance 传奇剧<br /> <br /> Erlang Shen, Erlang 二郎神<br /> <br /> Tathagata, Buddha 如来佛<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Water Margin of the Marsh 水浒传<br /> <br /> ===C. Questions===<br /> <br /> 1.How many types are character roles divided into in Beijing opera?<br /> <br /> 2.What are the differences bbetween Sheng and Dan?<br /> <br /> 3.What are the special features of Chou?<br /> <br /> 4.What is the function of facial mask in Beijing opera?<br /> <br /> 5.What are the main features of facial makeup?<br /> <br /> 6.What are the characteristics of characters wearing blue facial makeup?<br /> ===Answers===<br /> 1.Four types:Sheng, Dan, Jing and Chou.<br /> <br /> 2.Sheng refers to male roles while Dan refers to female roles.<br /> <br /> 3.A patch of white powder is wiped on their nose.<br /> <br /> 4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. <br /> <br /> 5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.<br /> <br /> 6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly<br /> <br /> ===References===<br /> <br /> He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.<br /> <br /> Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.<br /> <br /> Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.<br /> <br /> ==Literature, Science Fiction and Fantasy - Dashkin, Gennadii - Student No.201911080001==<br /> === Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===<br /> <br /> <br /> Nowadays, modern literature is one of most interesting and gorgeous side of the worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that modern generation in the whole world prefer to read something about the future. Something, that can help to understand of what will be next. And that is why, one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broads our mind horizons.<br /> <br /> ====1.Liu Cixin（刘慈欣）====<br /> <br /> <br /> Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976).(Alexandra Alter,How Chinese Sci-Fi Conquered America 2019, 1)<br /> <br /> Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. <br /> <br /> Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written and naive and decided that he did not deserve publication.However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &quot;Supernova Era&quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence.(Liu Cixin, Supernova Era 2019,352)<br /> <br /> Liu's first books were warmly received in China, but nevertheless real success came to the author only in 2006, when he published the first part of his trilogy &quot;Memory of the Earth's Past&quot; - the novel &quot;The Problem of Three Bodies&quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &quot;The Three-Body Problem,&quot; although this is not formally true.<br /> <br /> In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.<br /> <br /> Liu Cixin is definitely a unique writer, with his own style, philosophy and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics, but also to science fiction literature.<br /> <br /> ====2.Chen Qiufan (陈楸帆） ====<br /> <br /> <br /> Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.<br /> <br /> Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.<br /> <br /> His debut book was ''The Empty Wave'', &quot;combining realism and allegory to represent the hybridity of humans and machines.&quot; Chen Qiufan's novels and stories won three Galaxy Awards, and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish and Russian.<br /> <br /> His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of the humanity progress.<br /> <br /> ====3.Rebecca F. Kuang (匡蘦秀)====<br /> <br /> <br /> When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.<br /> <br /> Quang grew up in Dallas, Texas and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.<br /> <br /> Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.<br /> <br /> Her debut novel, The Opium War, is a war fantasy set inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological and philosophical realities of China of the chosen era.<br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Science fiction - 科幻<br /> <br /> 2. Fantasy - 奇幻<br /> <br /> 3. Horizon - 地平线<br /> <br /> 4. Broad - 拓宽<br /> <br /> 5. Hybrid - 杂种<br /> <br /> 6. The plot - 情节<br /> <br /> 7. Garbage - 垃圾堆<br /> <br /> 8. Heyday - 壮年<br /> <br /> 9. Supernova - 超新星<br /> <br /> ===Questions===<br /> <br /> 1. What was the first book written by Liu Cixin?<br /> <br /> 2. What is the most popular trilogy of books written by Liu Cixin?<br /> <br /> 3. Who is called as Chinese William Gibson?<br /> <br /> 4. What is Rebecca Quang's Opium War plot based on?<br /> <br /> ===Answers===<br /> <br /> 1. Supernova Era<br /> <br /> 2. Memory of the Earth's Past<br /> <br /> 3. Chen Qiufan (陈楸帆）<br /> <br /> 4. The plot is largely based on the history of China in the middle of the 20th century.<br /> <br /> ===References===<br /> <br /> 1. Alexandra Alter,How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html<br /> <br /> 2. Liu Cixin, Supernova Era, 2019. 352 pp.<br /> <br /> 3. Chen Qiufan, Waste Tide, 2019. 342 pp.<br /> <br /> 4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.<br /> <br /> ==Stilts - Chen Yongxiang 陈永相 英语笔译 202070080582==<br /> [[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;fm=26&amp;gp=0.jpg] for original source.]]<br /> <br /> ===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===<br /> <br /> &lt;center&gt;Chen Yongxiang 陈永相 英语笔译 202070080582&lt;/center&gt;<br /> <br /> ====Introduction====<br /> <br /> Stilt is one of the folk dances of the Han nationality in our country, which is called &quot;Stilt Yangko&quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.<br /> <br /> As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &quot;Tongle Gaojiaohui&quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.<br /> <br /> The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who hold the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.<br /> <br /> Miliangtun Village Stilts as a renowned fair, known as the features of risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.<br /> <br /> There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilts is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.<br /> <br /> ====Terms and Expressions====<br /> <br /> Miliangtun (village name) 米粮屯<br /> <br /> stilts 高跷<br /> <br /> intangible cultural heritage 非物质文化遗产<br /> <br /> folk dance 民间舞蹈<br /> <br /> Toutou 陀头<br /> <br /> Laozuozi 老坐子 <br /> <br /> young boy 小二哥<br /> <br /> young master 公子<br /> <br /> Mr.Plaster 药先生<br /> <br /> Choupo 丑婆<br /> <br /> fisherman渔翁<br /> <br /> Yupo 渔婆 <br /> <br /> wood-cutter 柴翁<br /> <br /> handsome and ugly drum-players 俊鼓和丑鼓<br /> <br /> handsome and ugly gong-players 俊锣和丑锣<br /> <br /> ====Questions====<br /> <br /> 1. Where does Miliangtun Village Stilts originate?<br /> <br /> 2. How many years of history does Miliangtun Village Stilts have?<br /> <br /> 3. How many roles in Miliangtun Village Stilts?<br /> <br /> 4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?<br /> <br /> 5. How long is the shortest and the longest stilts?<br /> <br /> ====Answers====<br /> <br /> 1. Wangzuo Town, Fengtai District, Beijing.<br /> <br /> 2. More than 250 years.<br /> <br /> 3. 13.<br /> <br /> 4. In 2006.<br /> <br /> 5. The shortest stilt is two feet long, and the longest reaches over five feet.<br /> <br /> ====References====<br /> <br /> Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.<br /> <br /> Sun Miao 孙淼. (2018). &quot;一跷多艺&quot;: 胜芳高跷会的舞体表征与比较研究. [&quot;Multi-skills with one stilt&quot;: A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.<br /> <br /> https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin<br /> <br /> https://baijiahao.baidu.com/s?id=1643344511003907548&amp;wfr=spider&amp;for=pc<br /> <br /> <br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)<br /> <br /> ==Chinese Lion Dancing - Ding Daifeng 丁代凤==<br /> <br /> ===Introduction===<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.<br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)<br /> <br /> <br /> In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)<br /> <br /> ===Northern lion dancing===<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)<br /> <br /> ===Southern lion dancing===<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)<br /> <br /> Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)<br /> <br /> In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)<br /> <br /> ===Terms and Expressions===<br /> <br /> Western Regions 西域<br /> <br /> mount 坐骑<br /> <br /> Manjusri Bodhisattva 文殊菩萨<br /> <br /> gong 锣<br /> <br /> northern lion dancing 南狮<br /> <br /> southern lion dancing 北狮<br /> <br /> colorful silk ball 绣球<br /> <br /> wooden stakes 木桩<br /> <br /> spiritual resemblance神似<br /> <br /> Liu Bei lion 刘备狮<br /> <br /> Guan Gong lion 关公狮<br /> <br /> Zhang Fei lion 张飞狮<br /> <br /> sworn brothers 结义兄弟<br /> <br /> horse stances 马步<br /> <br /> Cai Qing 采青<br /> <br /> lettuces 生菜<br /> <br /> ===Questions===<br /> <br /> 1. How long is the history of lion dance in China?<br /> <br /> 2. Why did people gradually accept lion as a sacred animal?<br /> <br /> 3. Why did people use lion dance to celebrate the New Year?<br /> <br /> 4. What is the main difference between southern lion dancing and northern lion dancing?<br /> <br /> 5. What is the center of southern lion dancing?<br /> <br /> 6. How many colors are there in the heads of southern lions? And what are they?<br /> <br /> 7. What is “Cai Qing”? And what do you know about “Cai Qing”?<br /> <br /> ===Answers===<br /> <br /> 1. It is with a history of about 2000 years.<br /> <br /> 2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.<br /> <br /> 3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.<br /> <br /> 4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.<br /> <br /> 5. It is in southern China’s Guangdong province.<br /> <br /> 6. The head of southern lion has three colors, namely black, red and yellow.<br /> <br /> 7. It means &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming.<br /> <br /> ===References===<br /> <br /> Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.<br /> <br /> Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.<br /> <br /> Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.<br /> <br /> Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.<br /> <br /> ==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==<br /> ===A. The Eight Tang-Song Prose Masters===<br /> [[File:Tang Song Ba Da Jia.jpg]]<br /> <br /> ===Brief Introduction of The Eight Tang-Song Prose Masters===<br /> <br /> The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &quot;Ancient Prose Movement&quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25） <br /> In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)<br /> <br /> '''1. Han Yu'''<br /> [[File:Han Yu.jpg]]<br /> <br /> Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)<br /> Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)<br /> <br /> '''2. Liu Zongyuan'''<br /> [[File:Liu Zongyuan.jpg]]<br /> <br /> Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &quot;Liu Hedong &quot;, &quot; Mr. Hedong &quot;, also known as&quot; Liu Liuzhou &quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor .<br /> He was juxtaposed with Han Yu as &quot;Han Liu &quot;, with Liu Yuxi as &quot; Liu Liu &quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &quot;Wang Meng Wei Liu &quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &quot;Liu He Dong Colloection&quot; was one of his representatives. (Zhou Zhenfu 2016, 26)<br /> He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)<br /> <br /> '''3. Ouyang Xiu'''<br /> [[File:Ouyang Xiu.jpg]]<br /> <br /> Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.<br /> Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.<br /> Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)<br /> <br /> '''4. Su Xun'''<br /> [[File:Su Xun.jpg]]<br /> <br /> Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.<br /> Su Xun was a man of political ambition. He said that the main purpose of his works was &quot;to speak for the world &quot;, to&quot; apply to the present &quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)<br /> <br /> '''5. Su Shi'''<br /> [[File:Su Shi.jpg]]<br /> <br /> Su Shi, with a fame as &quot; Dongpo Jushi &quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .<br /> Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &quot;Han Chao Su hai&quot; with Han Yu in the prose area, &quot;Ou Su&quot; with Ouyang Xiu, &quot;Su Huang&quot; with Huang Tingjian, and &quot;Su Xin&quot; with Xin Qiji in the Ci area, so he was called &quot;the first all-round talent in ancient China&quot;.(Zhou Zhenfu 2016, 28)<br /> Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &quot;creating for certain purposes&quot;, advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.<br /> <br /> '''6. Su Zhe'''<br /> [[File:Su Zhe.jpg]]<br /> <br /> Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch.<br /> Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &quot;literary style&quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &quot;Ode to Ink bamboo&quot;.(Zhou Zhenfu 2016, 29)<br /> <br /> '''7. Wang Anshi'''<br /> [[File:Wang Anshi.jpg]]<br /> <br /> Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .<br /> Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)<br /> <br /> '''8. Zeng Gong'''<br /> [[File:Zeng Gong.jpg]]<br /> <br /> Zeng Gong was known as &quot;Mr. Nan Feng&quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &quot;eight masters&quot; of the Tang and Song Dynasties, he was also one of the &quot;Seven Zengs of Nanfeng&quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.<br /> <br /> '''9. Comparison between the Ancient Prose Movement and Renaissance'''<br /> Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)<br /> <br /> Comparison in ideology:<br /> The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.<br /> <br /> Comparison in writing style:<br /> The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)<br /> <br /> Comparison in literary form:<br /> The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&quot; Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)<br /> <br /> ===B. Terms and Expressions===<br /> The Eight Tang-Song Prose Masters 唐宋八大家<br /> <br /> Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》<br /> <br /> Ancient Prose Movement 古文运动<br /> <br /> parallel prose 骈文<br /> <br /> The Decline of Eight Generations 文起八代之衰<br /> <br /> The Article Giant 文章巨公<br /> <br /> Admired Literate of One Hundred Generations 百代文宗<br /> <br /> Han Changli Collection 《韩昌黎集》<br /> <br /> External collection 《外集》<br /> <br /> The Teacher's Theory《师说》<br /> <br /> Pre-Qin and Han Dynasties 先秦两汉时期<br /> <br /> writing in classical Chinese 文言文<br /> <br /> feudal provincial of Liuzhou 柳州刺史<br /> <br /> official supervisor of imperial censor 监察御史<br /> <br /> Liu He Dong Colloection 《柳河东集》<br /> <br /> Northern Song Dynasty 北宋<br /> <br /> a thousand volumes of collections of inscriptions 金石遗文一千卷<br /> <br /> Xia, Shang, Zhou Dynasties 三代<br /> <br /> the crown of that time 一时之冠<br /> <br /> Southern Tang Dynasty 南唐<br /> <br /> Yu Feng 余风<br /> <br /> The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》<br /> <br /> the Northern Song Dynasty poetry innovation movement北宋诗文革新运动<br /> <br /> Heng Lun 《衡论》<br /> <br /> Duke Jingguo 荆国公<br /> <br /> The Book to the Emperor 《上皇帝书》<br /> <br /> Dongpo Jushi 东坡居士<br /> <br /> Ci writer 词人<br /> <br /> Unconstrained Ci School豪放派<br /> <br /> literary and artistic attainments 文学艺术造诣<br /> <br /> the first all-round talent in ancient China 中国古代第一全才<br /> <br /> Su Men Four bachelors 苏门四学士<br /> <br /> the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》<br /> <br /> The New Theory《新论》<br /> <br /> On the Six Kingdoms 《六国论》<br /> <br /> Ode 赋<br /> <br /> The Ode to Ink bamboo 《墨竹赋》<br /> <br /> Seven Zengs of Nanfeng 南丰七曾<br /> <br /> the doctrine before the text先道后文<br /> <br /> the Book to Ouyang She Ren 《上欧阳舍人书》<br /> <br /> the Book to Bachelor Cai 《上蔡学士书》<br /> <br /> the Six Dynasties 六朝<br /> <br /> ===C. Questions===<br /> 1.Who are the pioneers of the Ancient Prose Movement?<br /> <br /> 2.Which kind of prose they advocate in the Ancient Prose Movement?<br /> <br /> 3.Do you know any representatives of Liu Zongyuan?<br /> <br /> 4.Why Ouyang Xiu is called &quot;Liu Yi Scholar&quot;?<br /> <br /> 5.What’s the relationship among Su Xun, Su Shi and Su Zhe?<br /> <br /> 6.Who are the &quot;Seven Zengs of Nanfeng&quot;?<br /> <br /> 7.Do you know any about the Renaissance?<br /> <br /> ===D. Answers===<br /> <br /> 1.Han Yu and Liu Zongyuan.<br /> <br /> 2.The prose of Pre-Qin and Han Dynasties.<br /> <br /> 3.The &quot;Liu He Dong Colloection&quot;.<br /> <br /> 4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.<br /> <br /> 5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.<br /> <br /> 6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> <br /> 7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.<br /> <br /> ===References===<br /> Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.<br /> <br /> Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.<br /> <br /> He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.<br /> <br /> Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.<br /> <br /> Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).<br /> <br /> Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.<br /> <br /> Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.<br /> <br /> ==Music, Instruments, Pipa - Gao Mingzhu 高明珠==<br /> [Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu<br /> <br /> '''1. A Brief Introduction'''<br /> <br /> Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&quot; and &quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)<br /> <br /> '''2.The Development of Pipa'''<br /> <br /> The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)<br /> <br /> During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one kind playing skill in playing pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16) <br /> <br /> There was only one kind playing skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from small to popular. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> '''3.Pipa Schools and Their Chracteristics'''<br /> <br /> The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)<br /> <br /> (1)The Wuxi school<br /> <br /> The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)<br /> <br /> (2)The Pinghu school<br /> <br /> The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as &quot; paired butterfly flying&quot; .(Deng Sijia 2020,10)<br /> <br /> (3)The Pudong School <br /> <br /> Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)<br /> <br /> (4)The Chongming school<br /> <br /> The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)<br /> <br /> (5)The Shanghai school<br /> <br /> This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)<br /> <br /> '''4.Traditional Pipa Music'''<br /> <br /> Traditional pipa music can be divided into military songs, literary songs and military-literary songs.<br /> <br /> Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are &quot;Ambush on All Sides&quot;, &quot;Bury Me High&quot;, &quot;Hai Qing Hunting the Swan&quot;, &quot;General Order in the Han Dynasty&quot;. [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)<br /> <br /> Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; and so on.<br /> <br /> Military-literary song is the combination of martial song and literary song. The representative songs are &quot;The Spring Snow&quot;, &quot;High Mountain and Flowing Water&quot;, &quot;Dragon Boat&quot;, &quot;Flute and Drum at Sunset&quot; and so on.<br /> <br /> '''5.Refferences''' [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> [1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020<br /> <br /> [2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.<br /> <br /> [3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.<br /> <br /> [4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.<br /> <br /> [Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> '''6.Terms and Expressions'''<br /> <br /> 弹拨乐器—plucked instruments<br /> <br /> 汉化—Chinesization<br /> <br /> 套曲—divertimentoes<br /> <br /> 游牧民族—nomad tribe<br /> <br /> 宫廷乐—court music<br /> <br /> 轮指法—tremolo<br /> <br /> 音色—timbre<br /> <br /> 曲目—repertoire<br /> <br /> 并弦—parallel string<br /> <br /> 指法—fingering techniques<br /> <br /> '''7.Questions'''<br /> <br /> 1、How many stages did pipa go through during its development?<br /> <br /> 2、What characteristics did pipa have during Wei and Jin dynasties?<br /> <br /> 3、What changes had been made to pipa during Ming and Qing dynasties?<br /> <br /> 4、How many schools does pipa have and what are they?<br /> <br /> 5、Can you list at least 3 representative repertoires of literary songs played by pipa? <br /> <br /> '''8.Answers'''<br /> <br /> 1、Four.<br /> <br /> 2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.<br /> <br /> 3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. <br /> <br /> 4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school. <br /> <br /> 5、&quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; .<br /> <br /> [Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> ===Terms and Expressions===<br /> ===xxx===<br /> <br /> ==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001== Major.................<br /> === Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === <br /> <br /> The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?<br /> <br /> '''1. Huli-jing (狐狸精) in China'''<br /> <br /> First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.<br /> <br /> People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.<br /> <br /> Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.<br /> <br /> The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.<br /> <br /> Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.<br /> A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &quot;Good Hunt&quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.<br /> <br /> In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &quot;Painted Skin (畫皮)&quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.<br /> <br /> In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.<br /> <br /> Quite a lot of information about werewolf foxes can be obtained from the TV series &quot;The Legend of the Nine-Tailed Fox&quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.<br /> <br /> Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.<br /> <br /> The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.<br /> <br /> '''2. Kitsune (キツネ) in Japan''' <br /> <br /> In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&quot;Fox-messenger&quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.<br /> <br /> Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.<br /> <br /> Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.<br /> <br /> A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. <br /> <br /> '''3. Kumiho (구미호) in Korea'''<br /> <br /> Kumiho - (구 &quot;ku&quot; - nine, 미 &quot;mi&quot; - tail, 호 &quot;ho&quot; - fox - &quot;fox with nine tails&quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.<br /> <br /> In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> Shape shifter – 成精<br /> <br /> Creature –生物<br /> <br /> Seductive –诱人的<br /> <br /> Damnation –诅咒<br /> <br /> Metaphor –隐喻<br /> <br /> Ascribe –属性<br /> <br /> Indigenous –土着<br /> <br /> Deity – 反面人物<br /> <br /> Liver – 肝脏<br /> <br /> ===References===<br /> <br /> 1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.<br /> <br /> 2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.<br /> <br /> 3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.<br /> <br /> ===Questions===<br /> <br /> 1. What was the attitude towards the Huli Jing in Ancient China?<br /> <br /> 2. Can we characterize Kitsune as a positive or negative character?<br /> <br /> 3. Could Kumiho become human forever?<br /> <br /> ===Answers===<br /> <br /> 1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.<br /> <br /> 2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.<br /> <br /> 3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.<br /> References ..................<br /> <br /> ==Chinese Characters - Gu Dongfang 顾东方==<br /> Chinese Characters<br /> <br /> ===Origin===<br /> <br /> Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）<br /> <br /> ===Evolution of Chinese characters===<br /> [[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]<br /> Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)<br /> <br /> ===Ancient Chinese characters===<br /> <br /> ====Oracle bone script====<br /> <br /> Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).<br /> <br /> ====Bronze script====<br /> <br /> In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.<br /> <br /> ====Seal script====<br /> Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. <br /> The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.<br /> <br /> ===Modern characters===<br /> ====Clerical script====<br /> <br /> After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.<br /> From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.<br /> <br /> ====Regular script====<br /> <br /> Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.<br /> <br /> ===Formation of Chinese characters===<br /> <br /> ====Pictograms====<br /> <br /> Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &quot;sun,&quot; 月 (yuè) for &quot;moon,&quot; and 木 (mù) for &quot;tree.&quot;<br /> <br /> ====Pictophonetic compounds====<br /> <br /> Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.<br /> <br /> ====Ideograph ====<br /> <br /> Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &quot;knife,&quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &quot;blade.&quot; Other common examples are 上 (shàng) for &quot;up&quot; and 下 (xià) for &quot;down.&quot; This category is small, as most concepts can be represented by characters in other categories.<br /> <br /> ====Logical aggregates====<br /> <br /> Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light.<br /> <br /> ====Associate transformation====<br /> <br /> Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &quot;elderly person,&quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.<br /> <br /> ====Borrowing ====<br /> <br /> Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)<br /> <br /> ===Simplification of Chinese characters===<br /> <br /> The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)<br /> <br /> ===Terms and expressions===<br /> <br /> 1.Oracle Bone Inscriptions  甲骨文<br /> <br /> 2.Bronze Inscriptions 金文<br /> <br /> 3.Small seal characters 小篆<br /> <br /> 4.Official script 隶书<br /> <br /> 5.Regular script 楷书<br /> <br /> 6.Cursive writing 草书<br /> <br /> 7.Cang Jie 仓颉<br /> <br /> <br /> 8.Clerical script 楷书<br /> <br /> 9.Su Shi 苏轼<br /> <br /> 10. Wang Xizhi 王羲之<br /> <br /> 11.Ou Yangxun 欧阳询<br /> <br /> 12.Yan Zhenqing 颜真卿<br /> <br /> 13.Pictograms 象形<br /> <br /> 14. Pictophonetic compounds 指事<br /> <br /> 15.Ideograph 会意<br /> <br /> 16.Logical aggregates 形声<br /> <br /> 17.Associate transformation 转注<br /> <br /> 18.Borrowing 假借<br /> <br /> ===Question===<br /> 1.How many Chinese characters are there?<br /> <br /> 2.How many letters are in the Chinese alphabet?<br /> <br /> 3. How many formations of Chinese characters? What are they?<br /> <br /> ===Answers===<br /> 1. According to the latest statics, there are nearly 91251 Chinese characters recorded .<br /> <br /> 2. There are 26 letters in Chinese alphabet.<br /> <br /> 3. Six formations are included in Chinese characters system, and they are Pictograms<br /> Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing<br /> <br /> ===References===<br /> <br /> 1.王显春. 汉字的起源[M]. 学林出版社, 2002.<br /> <br /> 2.刘又辛. &quot;关于汉字发展史的几个问题(上).&quot; 语文建设 12(1998):34-37.<br /> <br /> 3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188<br /> <br /> 4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.<br /> <br /> ==Chinese Knots - Guan Qinqing 管钦清==<br /> <br /> ===A.Chinese Knots===<br /> <br /> ====1.A Brief Introduction about Chinese Knots====<br /> <br /> The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It <br /> <br /> originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.<br /> <br /> The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.<br /> <br /> The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and <br /> <br /> personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which <br /> <br /> earned the knot its name.<br /> <br /> ====2.The Classification of Chinese Knots====<br /> <br /> There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥<br /> <br /> 结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井<br /> <br /> 结）,Cross Knot(十字结） and Ping Knot（平结）.<br /> <br /> Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. <br /> <br /> =====2.1.The Double Coin Knot=====<br /> <br /> Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views <br /> <br /> on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only <br /> <br /> represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &quot;luck money&quot;. Therefore, for <br /> <br /> the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes <br /> <br /> &quot;good things come in pairs&quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful <br /> <br /> patterns, such as clouds and Perfect Knots，etc.<br /> <br /> =====2.2.The Good Luck Knot=====<br /> <br /> As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.<br /> <br /> And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.<br /> <br /> =====2.3.The Pan Chang Knot=====<br /> <br /> Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the <br /> <br /> avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is <br /> <br /> often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.<br /> <br /> ====3.The Knitting Method of Chinese Knots====<br /> <br /> The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.<br /> <br /> The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.<br /> <br /> ====4.The Cultural Connotations of Chinese Knots====<br /> <br /> Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of <br /> <br /> rope and thread.In Chinese， &quot;rope&quot; (绳）and &quot;god&quot; （神）are homophonic, so the Chinese nation has a worship of &quot;rope&quot;. In addition, Chinese people are descendants of <br /> <br /> dragons.Because the shape of &quot;rope&quot; is like a winding dragon, people also regard &quot;rope&quot; as a symbol of dragon. Chinese people also have their own unique understanding of <br /> <br /> &quot;knot&quot;, which means reunion and happiness. Many of the Chinese words composed of &quot;结&quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交<br /> <br /> （making friends), and 永结同心（tie the knot),etc. &quot;结&quot;(knot) is also homonymous with &quot;吉&quot;（ausipiciousness), so people even think that &quot;knot&quot; is a symbol of good luck.<br /> <br /> ====5.Comparisons between Chinese Knots and Cross Necklaces====<br /> <br /> =====5.1.Different Cultural Connotations=====<br /> <br /> From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of <br /> <br /> Christianity. The cross, derived from the Latin &quot;crux&quot;, means &quot;fork&quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient <br /> <br /> Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross <br /> <br /> ornaments in the west as cross necknaces are usually used to represent love and salvation.<br /> <br /> =====5.2.Different Shapes=====<br /> <br /> Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have <br /> <br /> different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.<br /> <br /> ====6.References====<br /> <br /> 李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.<br /> <br /> 李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.<br /> <br /> 许星.路论中国结[J].丝绸,2004(02) : 46-47.<br /> <br /> 邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.<br /> <br /> 王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.<br /> <br /> ===B. Terms and Expressions===<br /> <br /> Double Coin Knot 双钱结<br /> <br /> Good Luck Knot 吉祥结<br /> <br /> Chinese Button Knot 纽扣结<br /> <br /> Sauvastika Knot 万字结<br /> <br /> Oxalis Knot 酢浆草结<br /> <br /> Pan Chang Knot 盘长结<br /> <br /> Round Brocade Knot 团锦结<br /> <br /> Caisson Celling Knot 藻井结<br /> <br /> Cross Knot 十字结<br /> <br /> Ping Knot 平结<br /> <br /> tie the knot 永结同心<br /> <br /> luck money 压岁钱<br /> <br /> the bishop's identity 主教职权<br /> <br /> ===C. Questions===<br /> <br /> 1. What is the Chinese knot?<br /> <br /> 2. Do you know the names of the main Chinese knots? What are they?<br /> <br /> 3. What do &quot;绳&quot; and &quot;结&quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> ==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==<br /> <br /> [[File:Chinese Mythology.jpg|thumb|right|Panku]]<br /> <br /> ===Introduction===<br /> <br /> The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.<br /> <br /> ===A. Panku Created the World===<br /> <br /> In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).<br /> <br /> At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 &quot;li&quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).<br /> Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.<br /> <br /> ===B. NuWa Created Human Beings===<br /> <br /> [[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]<br /> <br /> Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).<br /> <br /> As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.<br /> <br /> During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.<br /> <br /> ===C. Fushi Taught the People=== <br /> <br /> In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .<br /> <br /> Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &quot;trigrams&quot;, in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This &quot;trigrams&quot; was also a mean to interpret future and consult oracle about the right ways to follow.<br /> <br /> Finally, Fushi gave his last gift (music) in order people can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &quot;pipa&quot; (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history. Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. <br /> <br /> ===D. Water War===<br /> <br /> Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as a very big giants with different shapes, Gong shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).<br /> <br /> Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).<br /> <br /> In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.<br /> <br /> ===E. Terms and Expressions===<br /> <br /> Chinese Mythology 中国神话<br /> <br /> Panku 盤古<br /> <br /> Yin/Yang 陰陽 / 阴阳<br /> <br /> Nuwa 女媧<br /> <br /> Fushi 伏羲<br /> <br /> Water War 水战<br /> <br /> ===F. Questions===<br /> <br /> 1. Why an egg a good symbol for the beginning of the world?<br /> <br /> 2. Why Nuwa decided to create human beings?<br /> <br /> 3. What did Fushi taught to people?<br /> <br /> 4. What was the cause of Gong and Zurong’s war and who won?<br /> <br /> ===G. Answers===<br /> <br /> 1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.<br /> <br /> 2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.<br /> <br /> 3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.<br /> <br /> 4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.<br /> <br /> ===References===<br /> <br /> 1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.<br /> <br /> 2. Irene Dea Collier. (2001). &quot;Chinese Mythology&quot;. Library of Congress Cataloging-in-Publication Data.<br /> <br /> 3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg<br /> <br /> 4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)<br /> <br /> ==Gods and Immortals - Gui Yizhi 桂一枝==<br /> <br /> ===Chinese gods and immortals===<br /> <br /> ====Chinese mythology system====<br /> <br /> Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.<br /> <br /> Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.<br /> <br /> The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).<br /> <br /> Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &quot;Way&quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.<br /> <br /> At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &quot;most widely beloved Buddhist Divinity&quot; with miraculous powers to assist all those who pray to her.<br /> <br /> ====神 shén, 帝 dì and 仙 xiān====<br /> <br /> Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. dì, sometimes translated as &quot;thearch&quot;, implies a manifested or incarnate &quot;godly&quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.<br /> <br /> ====Eight immortals====<br /> <br /> The Eight Immortals are a group of legendary xian (&quot;immortals&quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &quot;Covert Eight Immortals&quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.<br /> <br /> The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism. <br /> <br /> The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &quot;The Eight Immortals cross the sea, each reveals its divine powers&quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.<br /> <br /> ===Terms and Expressions===<br /> <br /> immortals 仙 <br /> <br /> mythology 神话，神话学<br /> <br /> cosmology 宇宙论，宇宙观 <br /> <br /> monolithic 整体（式）的<br /> <br /> the Battle of Zhuolu 涿鹿之战<br /> <br /> pantheistic 泛神论的 <br /> <br /> polytheistic 多神论的<br /> <br /> Three Pure Ones 三清<br /> <br /> anthropomorphic 人格化的<br /> <br /> tutelary 守护神 <br /> <br /> deity 神<br /> <br /> Buddha 佛 <br /> <br /> Shakyamuni 释迦牟尼<br /> <br /> Amitabha 阿弥陀佛 <br /> <br /> Amitāyus 无量寿佛<br /> <br /> celestial 天的 <br /> <br /> Bodhisattva 菩萨 <br /> <br /> Pure Land 极乐世界 <br /> <br /> vessels 法器<br /> <br /> Covert Eight Immortals 暗八仙 <br /> <br /> Taoist 道家的，道士<br /> <br /> ===Questions===<br /> <br /> 1. What are the topics of the Ancient mythology?<br /> <br /> 2. What are the differences among shén, dì and xiān?<br /> <br /> 3. What do the Eight immortals represent respectively?<br /> <br /> ===Answers===<br /> 1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.<br /> <br /> 2. shén and dì corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> 3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.<br /> <br /> ===References===<br /> <br /> [1]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.pp11-12<br /> <br /> [2]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.pp.63-67 <br /> <br /> [3]柏杨．中国人史纲：时代文艺出版社，1987.pp. 34-40<br /> <br /> [4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear &amp; Company.pp.27-28 <br /> <br /> [5]Buddhism, the Fulfilment of Hinduism P37<br /> <br /> [6]胡亚楠. 从神到仙：先秦时期神仙信仰的形成因素研究[D].哈尔滨师范大学,2020.<br /> <br /> [7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.pp. 200-201<br /> <br /> [8]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [9]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [10]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago. pp. 313, 319–334.<br /> <br /> ==Literature, Tang and Song - Guo Lu 郭露 202070080588==<br /> <br /> ===Classical Prose Movement of late Tang Dynasty and Song Dynasty===<br /> <br /> ====Introduction====<br /> <br /> “The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its deep.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)<br /> <br /> ====Development====<br /> <br /> The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)<br /> <br /> However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)<br /> <br /> After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) <br /> <br /> ====Representatives====<br /> <br /> '''1.Han Yu'''<br /> <br /> Han Yu (768 – 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &quot;Eight Great Prose Masters of the Tang and Song&quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)<br /> <br /> Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)<br /> <br /> '''2.Liu Zongyuan'''<br /> <br /> Liu Zongyuan (773 – 819), courtesy name Zihou, also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese literature, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &quot;Jiangxue&quot;. (Yang Shengli 2020, 42-44)<br /> <br /> '''3.Ouyang Xiu'''<br /> <br /> Ouyang Xiu (1007 – 1072), courtesy name Yong Shu, also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)<br /> <br /> Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)<br /> <br /> Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)<br /> <br /> ====Masterworks====<br /> <br /> Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)<br /> <br /> ====Influence====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)<br /> <br /> ====Terms and Expressions====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家<br /> <br /> Classical Prose Movement 古文运动<br /> <br /> ''Eight Records of Excursions in Yongzhou'' 《永州八记》<br /> <br /> ''On Teachers'' 《师说》<br /> <br /> ''New Book of Tang'' 《新唐书》<br /> <br /> ''Historical Records of the Five Dynasties'' 《新五代史》<br /> <br /> ''Zuiweng Tingji'' 《醉翁亭记》<br /> <br /> ''Shang Zhongyong'' 《伤仲永》<br /> <br /> ''On Jia Yi'' 《贾谊论》<br /> <br /> ''First Ode to the Red Cliff'' 《赤壁赋》<br /> <br /> ====Questions====<br /> <br /> 1. Who were the first promoters of the Classical Prose Movement?<br /> <br /> 2. What does the Classical Prose Movement mean?<br /> <br /> 3. What's political and religious purposes of the Classical Prose Movement?<br /> <br /> ====Answers====<br /> <br /> 1. The first promoters of this movement were Han Yu and Liu Zongyuan.<br /> <br /> 2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.<br /> <br /> 3. The reason what Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.<br /> <br /> ====References====<br /> <br /> Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.<br /> <br /> Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.<br /> <br /> Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.<br /> <br /> Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.<br /> <br /> Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.<br /> <br /> Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.<br /> <br /> Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.<br /> <br /> ==The tradition of Red envelope and Lucky money - Ha, Thi Thu Hang - 201921080008==<br /> <br /> ===The Chinese Red Envelope and Lucky money tradition===<br /> <br /> In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.<br /> <br /> ====The Legend====<br /> <br /> In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> <br /> One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> There are also other legends about this custom related to the son Duong Quy Phi of the Tang dynasty - China and the Qin dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.<br /> <br /> ====The tradition====<br /> <br /> The Chinese custom of lucky money is called &quot;Hongbao&quot;. Chinese people really like red, so the lucky money is always red, symbolizing luck and happiness. The red envelope is called yasui qian (压岁钱 /Yāsuìqián/), which means &quot;suppressing ghosts money&quot;. Those who receive a red envelope are wished another safe and pea Sending red envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese lucky money must avoid the number 4 and be sealed. The children, after receiving the lucky money, do not open it immediately, but have to put it all under the pillow after about a week to open it, it is impolite to open a red envelope in front of the person who gives it to you. The meaning of this is for the lucky money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese lucky money.<br /> <br /> Red envelopes, also called red packets, lucky money, or &quot;hongbao&quot; in Chinese, &quot;li shi&quot; / &quot;li xi&quot; in Vietnamese are a popular monetary gift given on some important occasions or festivals in China, Vietnam, Korea, Japan, some other Asian countries, especially widely seen during the Chinese New Year (Spring Festival). During Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into.<br /> <br /> ====Outside of China====<br /> <br /> The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent.<br /> <br /> Each country has different ways of lucky money and changes over time, but the basic custom of lucky money is to want to send wishes of peace to all relatives and friends in the new year.<br /> In Vietnam, the Lunar New Year is one of the great holidays of the year. The traditional New Year's customs are still preserved, in which the lucky money is typical. On the first day of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give lucky money to the children with the message of good luck, good care and good study. Today, the tradition of lucky money in Vietnam is also expanded in the direction that children give lucky money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.<br /> <br /> In Japan, lucky money is called Otoshidama. Unlike other countries, the amount of Japanese lucky money depends on the child's age, the relationship of the family. Otoshidama red envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese red envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the lucky money will be written on the red envelope to show respect for the recipient. The message of each Otoshidama red envelopes is a wish for a warm, peaceful and lucky new year.<br /> <br /> In Korea, the lucky money is called Sabae. On New Year's Day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive lucky money together with wishes for health and peace in the new year. The lucky money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems...<br /> <br /> ===Terms and Expressions===<br /> Luckymoney 利市 /Lì shì/ <br /> <br /> Red envelope 紅包 /Hóngbāo/ <br /> <br /> Confucianism 儒教 /Rújiào/ <br /> <br /> Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/<br /> <br /> ===Questions===<br /> <br /> 1. Do you know the origin of giving Lunar new year lucky money to children？<br /> <br /> ===Answers===<br /> <br /> 1. In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> ===References===<br /> https://en.wikipedia.org/wiki/Red_envelope [https://en.wikipedia.org/wiki/Red_envelope]<br /> <br /> ==Calendar, The 24 Solar Terms - He Changqi 何长琦==<br /> ==='''The Twenty-four Solar Terms'''===<br /> <br /> ===1. The orgin and development of the twenty-four solar terms===<br /> <br /> “The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）<br /> <br /> ===2. The definition and classification of the twenty-four solar terms===<br /> <br /> “The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. <br /> A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate. The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.<br /> (Yuan Jixi 2016:)<br /> <br /> ===3.Folklore of the 24 solar terms===<br /> <br /> The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the &quot;whipping of the spring bull&quot; at the beginning of spring and the &quot;tailing festival&quot; at the end of the cold season. Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &quot;the unity of heaven and man, in accordance with the four seasons&quot;, the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. <br /> <br /> These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &quot;biting the spring&quot; on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)<br /> <br /> ===4.Importance and values===<br /> <br /> ===4.1 Importance in ancient times===<br /> <br /> The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. The 24 solar terms have played an important role in the life and work of traditional Chinese people.<br /> Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that &quot;if the agricultural time is not violated, there will be sufficient grain supply.&quot; (Mencius - Liang Huiwang). Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives. For example, the &quot;Four Beginnings&quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)<br /> <br /> ===4.2 Values in modern society===<br /> <br /> In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation. It still has its practical values in modern society.<br /> Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture. Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature. Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)<br /> <br /> ===Terms and Expressions===<br /> <br /> the Beginning of Spring 立春<br /> <br /> Beginning of Autumn 立秋<br /> <br /> Rain Water 雨水 <br /> <br /> End of Heat 处暑<br /> <br /> Insects Awakening 惊蛰 <br /> <br /> White Dew 白露<br /> <br /> Spring Equinox 春分 <br /> <br /> Autumnal Equinox 秋分<br /> <br /> Fresh Green 清明 <br /> <br /> Cold Dew 寒露<br /> <br /> Grain Rain 谷雨 <br /> <br /> First Frost 霜降 <br /> <br /> Beginning of Summer 立夏 <br /> <br /> Beginning of Winter 立冬<br /> <br /> Lesser Fullness 小满 <br /> <br /> Light Snow 小雪<br /> <br /> Grain in Ear 芒种 <br /> <br /> Heavy Snow 大雪<br /> <br /> Summer Solstice 夏至<br /> <br /> Winter Solstice 冬至<br /> <br /> Lesser Heat 大暑<br /> <br /> Lesser Cold 小寒<br /> <br /> Greater Heat 立春 <br /> <br /> Greater Cold 大寒<br /> <br /> ===Questions===<br /> 1.1.What are the first four solar terms measured by ancient Chinese people?<br /> <br /> 2.Where does the 24 solar terms originate from?<br /> <br /> 3. What are the eight solar terms that reflect seasonal changes？<br /> <br /> 4.When was included in the World Intangible Cultural Heritage List? <br /> <br /> 5.What are the food customs in the Beginning of Spring?<br /> <br /> 6.Do you konw any other folklore of the 24 solar terms?<br /> ===Answers===<br /> 1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.<br /> <br /> 2.It originated in the Yellow River valley.<br /> <br /> 3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice<br /> <br /> 4.In 2016.<br /> <br /> 5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.<br /> <br /> 6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the &quot;Sage of Medicine&quot;, invented the &quot;jiaozi&quot; to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as &quot;dumpling&quot; or jiaozi. Today there is still a saying that goes &quot;Eat dumplings on Start of Winter Day, or your ears will be frostbitten.&quot;<br /> <br /> ===References===<br /> Yuan Jix. 袁济喜. (2016). &quot;中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)<br /> <br /> Wang Jiahua. 王加华.（2019.9.20）&quot;China Social Science Network&quot; http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml<br /> <br /> Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）&quot;Chinanews&quot; http://www.chinanews.com/cul/2020/11-17/9340057.shtml <br /> <br /> He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html<br /> <br /> ==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==<br /> <br /> ===Collection of Yue Fu Poetry《乐府诗集》===<br /> <br /> ====Introduction====<br /> <br /> '''1.Brief introduction'''<br /> <br /> ''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. &quot;Yuefu&quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)<br /> <br /> '''2.About the author'''<br /> <br /> Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation.(Wu Ting 2007, 22)<br /> <br /> '''3.Content introduction'''<br /> <br /> It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &quot;Yuefu Poetry Collection&quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties.(Wu Ting 2007, 30)<br /> <br /> ====Masterpieces====<br /> <br /> '''1.''The Peacock Flies to Southeast'''''<br /> <br /> ''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit.As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed.(Wu Ting 2007, 36)<br /> <br /> '''2.''Mulan Poetry'''''<br /> <br /> ''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &quot;Mulan is a girl&quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)<br /> <br /> ====Evaluation====<br /> <br /> '''1.Contributions'''<br /> <br /> The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &quot;Moshangsang&quot;, &quot;dongmenxing&quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. Yuefu Poetry Collection introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)<br /> <br /> '''2.Shortcomings'''<br /> <br /> There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)<br /> <br /> ===References===<br /> Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)<br /> <br /> Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Collection of Yue Fu Poetry''《乐府诗集》<br /> <br /> Jiaomiao songs郊庙歌辞<br /> <br /> Yanshe songs燕射歌辞<br /> <br /> Guchui drum songs鼓吹曲辞<br /> <br /> Hengchui songs横吹曲辞<br /> <br /> Xianghe songs相和歌辞<br /> <br /> ''The Peacock Flies to Southeast'' 《孔雀东南飞》<br /> <br /> ''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)<br /> <br /> ===Questions===<br /> <br /> 1.When was Yuefu Poetry compiled？<br /> <br /> 2.Which institution did &quot;Yuefu&quot; belong to?<br /> <br /> 3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.In Song Dynasty.<br /> <br /> 2.It belongs to the institution in charge of music.<br /> <br /> 3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)<br /> <br /> ==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==<br /> <br /> ===Eight Major Cuisines of China===<br /> <br /> ====1. A Brief Introduction About Chinese Cuisine====<br /> As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &quot;four major cuisines.&quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &quot;eight major cuisines&quot; of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)<br /> <br /> ====2. The Classification of Chinese Cuisines====<br /> <br /> China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)<br /> <br /> =====2.1 Shandong Cuisine=====<br /> Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)<br /> =====2.2 Sichuan Cuisine=====<br /> Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one <br /> of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)<br /> =====2.3 Guangdong Cuisine=====<br /> Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)<br /> =====2.4 Fujian Cuisine=====<br /> Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &quot;pickled taste&quot;. (Shi Hongmei 2009, 55)<br /> =====2.5 Jiangsu Cuisine=====<br /> Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)<br /> =====2.6 Zhejiang Cuisine=====<br /> Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)<br /> =====2.7 Hunan Cuisine=====<br /> Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)<br /> =====2.8 Anhui Cuisine=====<br /> Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)<br /> <br /> ====3. A Comparison of Chinese-Western Diet Culture====<br /> <br /> Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)<br /> <br /> Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods.(Caihua 2009, 57)<br /> <br /> ====References====<br /> <br /> Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.<br /> <br /> Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.<br /> <br /> Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.<br /> <br /> Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．<br /> <br /> Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.<br /> <br /> ===Terms and Expressions===<br /> <br /> pot-stewed fowl 卤味<br /> <br /> stewing and simmering 炖，煨<br /> <br /> prickly ash 花椒<br /> <br /> fermented soybean 豆鼓<br /> <br /> Braised Dongpo Pork 东坡肉<br /> <br /> Buddha Jumps over the Wall 佛跳墙<br /> <br /> Kung Pao Chicken 宫保鸡丁<br /> <br /> Bean Sauce Tofu 麻婆豆腐<br /> <br /> ===Questions===<br /> 1. How many types of cuisines are there in china?<br /> <br /> 2. What’s differences between Chinese and western diets?<br /> <br /> 3. What is the origin of Dongpo Meat?<br /> <br /> ===Answers===<br /> 1. Eight<br /> <br /> 2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. <br /> <br /> 3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.<br /> <br /> ==Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting==<br /> <br /> Chinese Paper Cutting 剪纸<br /> <br /> ===Text===<br /> ===Introduction===<br /> The art of paper cutting in China may date back to the second century CE, since paper was invented by Cai Lunin the Eastern Han Dynasty in China. As paper became more affordable, paper-cutting became one of the most important types of Chinese folk art. Later, this art form spread to other parts of the world, with different regions adopting their own cultural styles. Because the cut-outs are often used to decorate doors and windows, they are sometimes referred to as chuanghua, window flowers or window paper-cuts. People glued the papercuts to the exterior of windows, so the light from the inside would shine through the negative space of the cutout.[1] Usually, the artworks are made of red paper, as red is associated with festivities and happiness in Chinese culture, but other colours were also used. Normally paper-cutting artwork is used on festivals like Spring Festival weddings and childbirth. Paper-cuting always symbolizes luck and happiness.<br /> <br /> ===History===<br /> The paper was invented in the Western Han Dynasty (6th century BC), before which there was no paper-cut art. However, at that time, people used thin-film materials to make handicrafts by hollowing out carving techniques, which had been popular since before paper appeared, that is, carving, carving, carving and cutting techniques were used to carve patterns on gold foil, leather, silk and even on leaves. In the historical records, the brother of the cutting Tung Tong describes the Zhou Dynasty king of the Western Zhou Dynasty who cut his &quot;Guiyu&quot; to his brother by using Wutong leaves and Feng Ji Yu to Tang as Hou. During the Warring States period, leather engraving (one of the cultural relics unearthed from No.1 Chu tomb in jianglingwangshan, Hubei Province) and silver foil hollowed out and engraved patterns (one of the cultural relics unearthed from the Warring States site in Guwei village, Huixian County, Henan Province) were used in the Warring States period. Their appearance laid a certain foundation for the formation of folk paper-cut. In the southern and Northern Dynasties, &quot;Mulan Ci&quot; has the poem &quot;yellow to the mirror&quot;. The earliest paper-cut work in China was found in the Northern Dynasty period (386-581 A.D.) unearthed near the Flame Mountain in Turpan, Xinjiang. These paper-cut, the use of repeated folding and image processing techniques.<br /> <br /> In the Ming and Qing Dynasties, the paper-cut handicraft became mature and reached its peak. Folk paper-cut handicrafts are more widely used, such as flower decorations on folk lanterns, patterns on fans, and embroidery patterns, etc., all of which are decorated with paper-cut for reprocessing [9]. What's more, Chinese people often use paper-cut as decoration to beautify the home environment. For example, door stacks, window decorations, cabinet flowers, flower lovers and ceiling flowers are used to decorate doors, windows and rooms.<br /> <br /> At the beginning of the 20th century, the &quot;May 4th&quot; New Culture Movement established the rudiment of Chinese folklore under the advocacy of advanced intellectuals Cai Yuanpei, Lu Xun, Liu Bannong and Zhou Zuoren. They widely collect folk literature materials, but also strive to collect folk art works, including folk paper-cut. In the 1930s, artist Chen Zhinong began the research and creation of folk paper-cut in Beijing. He used sketches and silhouettes to depict a large number of customs and customs in old Beijing, such as street vendors, workshop craftsmen, food stalls and tea picking, markets, temple fairs, and market idlers.<br /> <br /> ===Five Regions===<br /> <br /> <br /> ===Techniques===<br /> ===References===<br /> <br /> ===Terms and Expressions===<br /> <br /> ===Questions===<br /> <br /> ===Answers===<br /> <br /> ==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==<br /> <br /> ===The Chinese Medical Sage - Zhang Zhongjing===<br /> <br /> Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)<br /> <br /> Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)<br /> <br /> This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)<br /> <br /> Later, people called the doctor who sat in the drugstore to treat patients &quot;the doctor sitting in the hall&quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)<br /> <br /> When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)<br /> <br /> There is a Chinese saying that goes, &quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)<br /> <br /> When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)<br /> <br /> Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &quot; Cold Dispelling Jiaoer Soup&quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)<br /> <br /> Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &quot;Cold Dispelling Jiaoer Soup&quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &quot;Cold Dispelling Jiaoer Soup&quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)<br /> <br /> In fact, the way of making &quot;Cold Dispelling Jiaoer Soup&quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &quot;Jiao Er&quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&quot; (首都医药 2003, 40)<br /> <br /> At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)<br /> <br /> <br /> [[File:Zhang_Zhongjing.jpg]]<br /> <br /> ===References===<br /> <br /> 2003(17). 张仲景故乡的二十四个故事(六) 饺子的来历[J]. 首都医药.<br /> <br /> Zhang Maoyun 张茂云. 2014(04). 伤寒杂病论成书年代及仲景生平年代考历[J]. 中国中医药现代远程教育.<br /> <br /> Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. 2013(07). “医圣”张仲景[J]. 中国卫生人才.<br /> <br /> Zhang Deli 张德礼. 2019(05). 心系百姓的“医圣”张仲景[J]. 现代班组.<br /> <br /> Tan Rongzhou 覃荣周. 2013(07). 张仲景对我国医学发展的历史贡献[J]. 兰台世界.<br /> <br /> Zhao Qingxin 赵清新. 1999(05). 万世医宗张仲景[J]. 解放军健康.<br /> <br /> 2020(03). 张仲景:“医圣”之名传天下[J]. 天一. 月读.<br /> <br /> ===Terms and Expressions===<br /> <br /> medical sage 医圣<br /> <br /> Treatise on Febrile and Miscellaneous Diseases《伤寒杂病论》<br /> <br /> treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治<br /> <br /> yamen 衙门<br /> <br /> Great Cold ( 24th solar term ) 大寒<br /> <br /> Slight Cold ( 23rd solar term ) 小寒<br /> <br /> look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切<br /> <br /> Cold Dispelling Jiaoer Soup 祛寒娇耳汤<br /> <br /> ===Questions===<br /> <br /> 1. What's the honorable title Zhang Zhongjing addressed as?<br /> <br /> 2. What's the official role Zhang once taken?<br /> <br /> 3. When would Zhang treat patients for free at yamen?<br /> <br /> 4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?<br /> <br /> 5. What's the relationship between Zhang Zhongjing and dumplings?<br /> <br /> ===Answers===<br /> <br /> 1. Chinese Medical Sage.<br /> <br /> 2. Changsha magistrate.<br /> <br /> 3. He treated patients for free on the first and fifteenth days of every lunar month.<br /> <br /> 4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.<br /> <br /> 5. Dumplings are derived from the recipe &quot; Cold Dispelling Jiaoer Soup&quot; developed by Zhang Zhongjing.<br /> <br /> --[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)<br /> <br /> ==Architecture, Qingming Riverside Landscape Garden-Zeng Liang 曾良 （major）202070080578==<br /> <br /> ===Introduction===<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, and covering an area of more than 600 acres, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the Northern Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park covering an area of more than 600 acresand showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the earlier Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and also, the first batch of 5A-level tourist attractions and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)(文件无效)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng as the capital of the Northern Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, People can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng, the capital of the earlier Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, people can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> There are eight functional zones including posthouse, folk custom, characteristic food street, demonstration of culture in Song Dynasty, flower, bird, fish, bug, prosperous capital, leisure and shopping, and integrated service, and four cultural zones including military drill ground, Rainbow Bridge, folk custom, and capital of Song Dynasty. The main architechtures of the garden include gate building, rainbow bridge, street view, stores, river channels, wharfs and ships. According to the original layout of ''Riverside Scene at Qingming Festival'', the garden presents the fabrications on site such as wine shops, teahouses, pawnshops, Bian (today’s Kaifeng) embroideries, official porcelains, and New Year paintings, gathers folk performance, vaudeville, and drum performance. (Gao Jing 2010,18)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050, and it was reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The Fuyun Pavillion is 31.99 meters high and it is the tallest building in the garden. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050 and reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The tallest building in the garden, the Fuyun Pavillion is 31.99 meters high. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> Every year, Qingming Riverside Landscape Garden will hold a series of cultural festivals, such as folk cultural festival of Song Dynasty, Qingming cultural festival, and chrysanthemum cultural festival. During the folk cultural festival of Song Dynasty, the scenic spot will gather unique folk performances across the country, such as flower-drum on the high platform, stilt, dragon dance, lion dance, small Henan opera. The international lantern exhibition is the highlight of folk cultural festival of Song Dynasty. A visual feast will be brought by auspicious tradition of Chinese Pavilion, the fresheness and refineness of Asian Pavilion, simplicity and fashion of European Pavilion, the quaint Buddhism of the Southeast Asia Pavilion, and the luxurious atmosphere of the African Pavillion. During the Qingming Festival, the garden will hold some Qingming cultural festivals to promote traditional festival culture. At that time, vistors can have an outing in spring, plant willion trees, watch folk customs, taste snacks, and enjoy the large-scale water live performances called ''“Luxuriant Dream of the East Capital of the Great Song Dynasty”.'' This event combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. Chrysanthemum cultural festival is another grand festivl in the garden, during which all kinds of chrysanthemums will be presented.The annual chrysanthemum festival in Kaifeng is held from October to November. Qingming Riverside Landscape Garden focuses on beautiful chrysanthemum plants, and makes full of architectures, sculptures, mountains, the surface of the water and association of activity and inertia to highlight the cultivated and creative skills of Kaifeng people. Chrysanthemums are changed into various shapes, which attracted thousands of visitors from all over the world. In the exhibition, visitors can enjoy and appreciate some species of chrysanthemum that are rarely seen in our daily life. (Zhang Lu 2013,24)<br /> <br /> There are vaious performances presented in the Qingming Riverside Landscape Garden, such as ''Luxuriant Dream of the East Capital of the Great Song Dynasty'', ''Baogong Salute to Guests'', ''Spitting Fire Show'', '''Cockfight''', ''Women’s Polo'' and so on. Among these formances, ''Luxuriant Dream of the East Capital of the Great Song Dynasty'' is a representative show of the garden. It is a large-scale live water performance produced by Qingming Riverside Landscape Garden. The performance is lasted for 70 minutes and is performed by more than 700 actors. It is a scroll about the heyday of the Northern Song Dynasty. The bustling scene of the Song Dynasty market, the prosperity of the capital of Bianliang(today’s Kaifeng), the mighty momentum of luxurious neighboring countries, the tragedy of wars, and the sustenance of blessings constitute a wash painting with a combination of noise and tranquility.(Gao Jing 2010,16)<br /> <br /> Ancient Chinese architectures and western architectures are different. The ancient architectures of China can be divided into palace architecure, religious architecture, mansion architecture and public architecture, which can be seen in the Qingming Riverside Landscape Garden. Compared with the Gothic architecture during the Middles Ages of the western Europe, the architecture of Song Dynasty shows a delicate and soft style, with complex forms of palaces, terraces, towers and pavilions, while Gothic archetecture is magnificent and exquisite. It has pointed vaults, which give people a visual impact and have a strong religious color.(Pang Runxin 2019,10)<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Qingming Riverside Landscape Garden'' 清明上河园<br /> <br /> ''Riverside Scene at Qingming Festival''《清明上河图》<br /> <br /> Rainbow Bridge虹桥<br /> <br /> Fuyun Pavillion浮云阁<br /> <br /> Shangshan Gate 上善门<br /> <br /> chrysanthemum菊花<br /> <br /> ''Baogong Salute to Guests''包公迎宾<br /> <br /> ''Spitting Fire Show''气功喷火<br /> <br /> ''Cockfight''斗鸡<br /> <br /> ''Women’s Polo''女子马球<br /> <br /> ''Luxuriant Dream of the East Capital of the Great Song Dynasty''《大宋·东京梦华》<br /> <br /> ===Questions===<br /> <br /> 1.What is the location of ''Qingming Riverside Landscape Garden''?<br /> <br /> 2.What’s the role of ''Qingming Riverside Landscape Garden'' in China?<br /> <br /> 3.When was ''Qingming Riverside Landscape Garden'' opened to the public?<br /> <br /> 4.Who is the painter of ''Piverside Scene at Qingming Festival''?<br /> <br /> 5.Which dynasty of the painting ''Qingming Riverside Landscape Garden'' present?<br /> <br /> 6.What does the name of ''Fuyun Pavilion'' mean?<br /> <br /> 7.What’s the characteristics of the performance of ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> 8.Can you please list some kinds of performance of ''Qingming Riverside Landscape Garden'' besides ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> ===Answers===<br /> <br /> 1.It is located on the west bank of ''Dragon Pavilion'' in Kaifeng, Henan Province.<br /> <br /> 2.In 2009, ''Qingming Riverside Landscape Garden'' was chosed as China’s first theme park in the style of the ancients by ''China World Records Association''. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s ''intangible cultural heritage exhibition base''. <br /> <br /> 3.It was officially opened to the public on October 28, 1998.<br /> <br /> 4.Zhang Zeduan.<br /> <br /> 5.Northern Song Dynasty.<br /> <br /> 6.The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map.<br /> <br /> 7.It combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. <br /> <br /> 8.''Baogong Salute to Guests'', ''Spitting Fire Show'', ''Cockfight'', ''Women’s Polo''.<br /> <br /> ===References===<br /> <br /> Chen Kang 陈康.(2006).《清明上河园》的精彩场景——贯木拱虹桥[Excellent Scenes of Qingming Riverside Landscape Garden——Wooden Arch Rainbow Bridge].集邮博览Philatelic Panorama(07)62-63.<br /> <br /> Gao Jing高静.(2010). 清明上河园——玩转宋文化[Qingming Riverside Landscape Garden—Fully Experience the Culture of Song Dyansty].光彩Brilliance(04)16-19.<br /> <br /> Li Mei李梅.(2007).清明上河园特色建设与长远发展[Distinctive Architecture of Qingming Riverside Landscape Garden nd its Long Development].合作经济与科技Co-operative Economyand Science(8)10-12.<br /> <br /> Pang Runxin庞润昕.(2019).《清明上河图》的建筑艺术[Architectural Art in Paintings of Riverside Scene Qingming Festival].景德镇陶瓷大学Jingdezheng Ceramic Institute(06)10-16.<br /> <br /> Wei Tuo韦陀.(2006).张择端之《清明上河图》[Riverside Scene at Qingming Festival Painted by Zhang Zeduan].紫禁城Forbidden City（Z2)13-15.<br /> <br /> Zhang Lu张璐.(2013).清明上河园与宋都文化传承创新研究[Inheritance and Innovation Research Study of “Qingming River” Song Dynasty Theme Park].赤峰学院学报Chi Feng College Journal(05)23-27.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:06, 12 December 2020 (UTC) (标点符号之间需要空格）--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_1&diff=112941 2020-12-16T06:27:03Z

<p>Sagara Seydou 3: /* The History */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Astrology - Alsied, Saffana==<br /> &quot;Chinese Astrology&quot;--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 17:07, 18 November 2020 (UTC)<br /> <br /> ===The History===<br /> <br /> So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the source is coming from ?<br /> <br /> ===The Five Elements And YIN/YANG===<br /> <br /> Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood.<br /> <br /> A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life.<br /> <br /> ===THE FORCES OF YIN / YANG===<br /> <br /> Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.<br /> <br /> A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. <br /> <br /> Chinese astrology was invented to achieve the two following goals;<br /> <br /> 1.) To predict the future,<br /> <br /> 2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise. <br /> <br /> According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. <br /> <br /> Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. <br /> <br /> The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.<br /> <br /> You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Chinese Astrology 中国占星学<br /> <br /> 2. Chinese Zodiac 中国十二生肖<br /> <br /> 3. Agricultural calendar 农业日历<br /> <br /> 4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）<br /> <br /> 5. The Oriental philosophy 东方哲学<br /> <br /> ===Questions===<br /> <br /> 1-Why was Chinese astrology invented?<br /> <br /> 2-How Chinese astrology relates to a person’s divine destiny?<br /> <br /> 3-What important role does the Chinese zodiac play in Chinese culture?<br /> <br /> 4- What is Chinese astrology based on?<br /> <br /> 5-Is Chinese astrology accurate?<br /> <br /> ===Answers===<br /> 1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.<br /> <br /> 2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.<br /> <br /> 3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.<br /> <br /> 4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.<br /> <br /> 5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> ===References===<br /> <br /> Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9<br /> <br /> 何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591<br /> <br /> Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.<br /> <br /> Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.<br /> <br /> &quot;&quot;Almanac&quot; &quot;lunar&quot; zodiac beginning of spring as the boundary dislocation? — China Network&quot;. 16 February 2009. Retrieved 5 January 2011.<br /> <br /> Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.<br /> <br /> &quot;Five Elements(Wu Xing)&quot;. YourChineseAstrology.com<br /> <br /> ==Spring Festival Couplets - Cao Runxin 曹润鑫==<br /> [[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]<br /> <br /> ===Spring Festival Couplets===<br /> Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).<br /> <br /> Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).<br /> <br /> The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).<br /> <br /> There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).<br /> <br /> ===References===<br /> <br /> *Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.<br /> *Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.<br /> *Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.<br /> *Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.<br /> <br /> <br /> ===Terms and Expressions ===<br /> Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 <br /> <br /> Paste 贴<br /> <br /> Horizontal scroll 横联<br /> <br /> Upper scroll 上联<br /> <br /> Lower scroll 下联<br /> <br /> ===Questions ===<br /> 1.What’s the purpose of pasting Spring Festival Couplets?<br /> <br /> To expresses people’s delight in the festival and wishes for a better life in the coming year.<br /> <br /> 2.What’s the historical origin of Spring Festival Couplets?<br /> <br /> It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.<br /> <br /> 3.How to read the Spring Festival Couplets?<br /> <br /> First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. <br /> <br /> 4.How to do with the Old Couplets?<br /> <br /> Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.<br /> <br /> ==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - Translation 英语笔译==<br /> <br /> [[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]<br /> <br /> ===Guzheng===<br /> <br /> ''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.<br /> <br /> There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).<br /> <br /> The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)<br /> <br /> [[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=古筝&amp;step_word=&amp;hs=0&amp;pn=27&amp;spn=0&amp;di=9900&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3246661627%2C3658564396&amp;os=3335747328%2C3552694810&amp;simid=0%2C0&amp;adpicid=0&amp;lpn=0&amp;ln=1718&amp;fr=&amp;fmq=1607348039297_R&amp;fm=result&amp;ic=&amp;s=undefined&amp;hd=&amp;latest=&amp;copyright=&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;gsm=1c&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]for original source.]]<br /> <br /> The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)<br /> <br /> Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several other schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)<br /> <br /> In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang played the ''guzheng'' to merge the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)<br /> <br /> From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.<br /> <br /> ===References===<br /> <br /> *Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.<br /> *Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.<br /> *Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. <br /> *Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.<br /> *Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.<br /> *Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.<br /> *Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.<br /> <br /> ===Terms and Expressions===<br /> <br /> *Meng Tian 蒙恬 <br /> *Zhao Lin 赵璘<br /> *''Records on Words'' 《因话录》<br /> *anterior mountain 前岳山 <br /> *posterior mountain 后岳山<br /> *''Yan Zhu'' 雁柱 <br /> *string pegs 弦钉<br /> *turning box 调音盒 <br /> *zither feet 琴足<br /> *paulownia 桐木 <br /> *mahogany 红木<br /> *''Dai Mao'' 玳瑁<br /> *''Yi Jia'' 义甲<br /> *''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹<br /> *''High Mountains and Running Water'' 《高山流水》<br /> *''The Autumn Moon in the Han Palace'' 《汉宫秋月》<br /> *''Jackdaw Playing in the Water'' 《寒鸦戏水》<br /> *''The Tune of Liu Qing Niang'' 《柳青娘》<br /> *Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香<br /> *Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望<br /> *''National Music Ceremony'' 《国乐大典》<br /> <br /> ===Questions===<br /> <br /> 1. What kind of musical instrument does the ''guzheng'' belong to?<br /> <br /> 2. Why the ''guzheng'' is deeply loved by Chinese? <br /> <br /> 3. Who is Meng Tian? <br /> <br /> 4. According to the legend, how did the ''se'' develop into the ''zheng''?<br /> <br /> 5. How many strings does the ''guzheng'' have? How long is the guzheng?<br /> <br /> 6. What is the function of movable bridges?<br /> <br /> 7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? <br /> <br /> 8. In ancient times, what materials were the fingerpicks made of?<br /> <br /> 9. Generally speaking, how does the players strike notes? <br /> <br /> 10. What styles can ''guzheng'' be divided into?<br /> <br /> 11. Which school does ''The Autumn Moon in the Han Palace'' belong to? <br /> <br /> 12. Do you know any other ''guzheng'' music? Please list some pieces.<br /> <br /> ===Answers===<br /> <br /> 1. It belongs to plucked stringed instruments.<br /> <br /> 2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. <br /> <br /> 3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.<br /> <br /> 4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. <br /> <br /> 5. It usually has 21 strings and is 163 centimeters long. <br /> <br /> 6. They are moved to change the timbres.<br /> <br /> 7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.<br /> <br /> 8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.<br /> <br /> 9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. <br /> <br /> 10. The Northern school and the Southern school.<br /> <br /> 11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.<br /> <br /> 12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).<br /> <br /> ==Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581==<br /> ===Facial makeup===<br /> <br /> Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)<br /> <br /> People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)<br /> <br /> The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)<br /> <br /> Red<br /> <br /> Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.<br /> <br /> Black<br /> <br /> Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.<br /> <br /> White<br /> <br /> White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.<br /> <br /> Blue<br /> <br /> Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.<br /> <br /> Purple<br /> <br /> Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.<br /> <br /> Golden<br /> <br /> Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).<br /> <br /> The features of facial makeup are mainly as follows:<br /> First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.<br /> It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.(Cao Juan, 2019, 61)<br /> <br /> ===B. Terms and Expressions===<br /> <br /> painted face 花脸<br /> <br /> clown 丑角<br /> <br /> Sheng 生<br /> <br /> Dan 旦<br /> <br /> Jing 净<br /> <br /> Chou 丑<br /> <br /> Qingyi 青衣<br /> <br /> xiaosheng 小生<br /> <br /> laosheng 老生<br /> <br /> wusheng 武生<br /> <br /> Gao Changgong 高长恭<br /> <br /> legend，romance 传奇剧<br /> <br /> Erlang Shen, Erlang 二郎神<br /> <br /> Tathagata, Buddha 如来佛<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Water Margin of the Marsh 水浒传<br /> <br /> ===C. Questions===<br /> <br /> 1.How many types are character roles divided into in Beijing opera?<br /> <br /> 2.What are the differences bbetween Sheng and Dan?<br /> <br /> 3.What are the special features of Chou?<br /> <br /> 4.What is the function of facial mask in Beijing opera?<br /> <br /> 5.What are the main features of facial makeup?<br /> <br /> 6.What are the characteristics of characters wearing blue facial makeup?<br /> ===Answers===<br /> 1.Four types:Sheng, Dan, Jing and Chou.<br /> <br /> 2.Sheng refers to male roles while Dan refers to female roles.<br /> <br /> 3.A patch of white powder is wiped on their nose.<br /> <br /> 4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. <br /> <br /> 5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.<br /> <br /> 6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly<br /> <br /> ===References===<br /> <br /> He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.<br /> <br /> Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.<br /> <br /> Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.<br /> <br /> ==Literature, Science Fiction and Fantasy - Dashkin, Gennadii - Student No.201911080001==<br /> === Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===<br /> <br /> <br /> Nowadays, modern literature is one of most interesting and gorgeous side of the worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that modern generation in the whole world prefer to read something about the future. Something, that can help to understand of what will be next. And that is why, one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broads our mind horizons.<br /> <br /> ====1.Liu Cixin（刘慈欣）====<br /> <br /> <br /> Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976).(Alexandra Alter,How Chinese Sci-Fi Conquered America 2019, 1)<br /> <br /> Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. <br /> <br /> Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written and naive and decided that he did not deserve publication.However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &quot;Supernova Era&quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence.(Liu Cixin, Supernova Era 2019,352)<br /> <br /> Liu's first books were warmly received in China, but nevertheless real success came to the author only in 2006, when he published the first part of his trilogy &quot;Memory of the Earth's Past&quot; - the novel &quot;The Problem of Three Bodies&quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &quot;The Three-Body Problem,&quot; although this is not formally true.<br /> <br /> In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.<br /> <br /> Liu Cixin is definitely a unique writer, with his own style, philosophy and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics, but also to science fiction literature.<br /> <br /> ====2.Chen Qiufan (陈楸帆） ====<br /> <br /> <br /> Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.<br /> <br /> Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.<br /> <br /> His debut book was ''The Empty Wave'', &quot;combining realism and allegory to represent the hybridity of humans and machines.&quot; Chen Qiufan's novels and stories won three Galaxy Awards, and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish and Russian.<br /> <br /> His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of the humanity progress.<br /> <br /> ====3.Rebecca F. Kuang (匡蘦秀)====<br /> <br /> <br /> When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.<br /> <br /> Quang grew up in Dallas, Texas and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.<br /> <br /> Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.<br /> <br /> Her debut novel, The Opium War, is a war fantasy set inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological and philosophical realities of China of the chosen era.<br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Science fiction - 科幻<br /> <br /> 2. Fantasy - 奇幻<br /> <br /> 3. Horizon - 地平线<br /> <br /> 4. Broad - 拓宽<br /> <br /> 5. Hybrid - 杂种<br /> <br /> 6. The plot - 情节<br /> <br /> 7. Garbage - 垃圾堆<br /> <br /> 8. Heyday - 壮年<br /> <br /> 9. Supernova - 超新星<br /> <br /> ===Questions===<br /> <br /> 1. What was the first book written by Liu Cixin?<br /> <br /> 2. What is the most popular trilogy of books written by Liu Cixin?<br /> <br /> 3. Who is called as Chinese William Gibson?<br /> <br /> 4. What is Rebecca Quang's Opium War plot based on?<br /> <br /> ===Answers===<br /> <br /> 1. Supernova Era<br /> <br /> 2. Memory of the Earth's Past<br /> <br /> 3. Chen Qiufan (陈楸帆）<br /> <br /> 4. The plot is largely based on the history of China in the middle of the 20th century.<br /> <br /> ===References===<br /> <br /> 1. Alexandra Alter,How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html<br /> <br /> 2. Liu Cixin, Supernova Era, 2019. 352 pp.<br /> <br /> 3. Chen Qiufan, Waste Tide, 2019. 342 pp.<br /> <br /> 4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.<br /> <br /> ==Stilts - Chen Yongxiang 陈永相 英语笔译 202070080582==<br /> [[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;fm=26&amp;gp=0.jpg] for original source.]]<br /> <br /> ===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===<br /> <br /> &lt;center&gt;Chen Yongxiang 陈永相 英语笔译 202070080582&lt;/center&gt;<br /> <br /> ====Introduction====<br /> <br /> Stilt is one of the folk dances of the Han nationality in our country, which is called &quot;Stilt Yangko&quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.<br /> <br /> As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &quot;Tongle Gaojiaohui&quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.<br /> <br /> The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who hold the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.<br /> <br /> Miliangtun Village Stilts as a renowned fair, known as the features of risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.<br /> <br /> There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilts is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.<br /> <br /> ====Terms and Expressions====<br /> <br /> Miliangtun (village name) 米粮屯<br /> <br /> stilts 高跷<br /> <br /> intangible cultural heritage 非物质文化遗产<br /> <br /> folk dance 民间舞蹈<br /> <br /> Toutou 陀头<br /> <br /> Laozuozi 老坐子 <br /> <br /> young boy 小二哥<br /> <br /> young master 公子<br /> <br /> Mr.Plaster 药先生<br /> <br /> Choupo 丑婆<br /> <br /> fisherman渔翁<br /> <br /> Yupo 渔婆 <br /> <br /> wood-cutter 柴翁<br /> <br /> handsome and ugly drum-players 俊鼓和丑鼓<br /> <br /> handsome and ugly gong-players 俊锣和丑锣<br /> <br /> ====Questions====<br /> <br /> 1. Where does Miliangtun Village Stilts originate?<br /> <br /> 2. How many years of history does Miliangtun Village Stilts have?<br /> <br /> 3. How many roles in Miliangtun Village Stilts?<br /> <br /> 4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?<br /> <br /> 5. How long is the shortest and the longest stilts?<br /> <br /> ====Answers====<br /> <br /> 1. Wangzuo Town, Fengtai District, Beijing.<br /> <br /> 2. More than 250 years.<br /> <br /> 3. 13.<br /> <br /> 4. In 2006.<br /> <br /> 5. The shortest stilt is two feet long, and the longest reaches over five feet.<br /> <br /> ====References====<br /> <br /> Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.<br /> <br /> Sun Miao 孙淼. (2018). &quot;一跷多艺&quot;: 胜芳高跷会的舞体表征与比较研究. [&quot;Multi-skills with one stilt&quot;: A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.<br /> <br /> https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin<br /> <br /> https://baijiahao.baidu.com/s?id=1643344511003907548&amp;wfr=spider&amp;for=pc<br /> <br /> <br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)<br /> <br /> ==Chinese Lion Dancing - Ding Daifeng 丁代凤==<br /> <br /> ===Introduction===<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.<br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)<br /> <br /> <br /> In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)<br /> <br /> ===Northern lion dancing===<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)<br /> <br /> ===Southern lion dancing===<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)<br /> <br /> Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)<br /> <br /> In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)<br /> <br /> ===Terms and Expressions===<br /> <br /> Western Regions 西域<br /> <br /> mount 坐骑<br /> <br /> Manjusri Bodhisattva 文殊菩萨<br /> <br /> gong 锣<br /> <br /> northern lion dancing 南狮<br /> <br /> southern lion dancing 北狮<br /> <br /> colorful silk ball 绣球<br /> <br /> wooden stakes 木桩<br /> <br /> spiritual resemblance神似<br /> <br /> Liu Bei lion 刘备狮<br /> <br /> Guan Gong lion 关公狮<br /> <br /> Zhang Fei lion 张飞狮<br /> <br /> sworn brothers 结义兄弟<br /> <br /> horse stances 马步<br /> <br /> Cai Qing 采青<br /> <br /> lettuces 生菜<br /> <br /> ===Questions===<br /> <br /> 1. How long is the history of lion dance in China?<br /> <br /> 2. Why did people gradually accept lion as a sacred animal?<br /> <br /> 3. Why did people use lion dance to celebrate the New Year?<br /> <br /> 4. What is the main difference between southern lion dancing and northern lion dancing?<br /> <br /> 5. What is the center of southern lion dancing?<br /> <br /> 6. How many colors are there in the heads of southern lions? And what are they?<br /> <br /> 7. What is “Cai Qing”? And what do you know about “Cai Qing”?<br /> <br /> ===Answers===<br /> <br /> 1. It is with a history of about 2000 years.<br /> <br /> 2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.<br /> <br /> 3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.<br /> <br /> 4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.<br /> <br /> 5. It is in southern China’s Guangdong province.<br /> <br /> 6. The head of southern lion has three colors, namely black, red and yellow.<br /> <br /> 7. It means &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming.<br /> <br /> ===References===<br /> <br /> Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.<br /> <br /> Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.<br /> <br /> Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.<br /> <br /> Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.<br /> <br /> ==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==<br /> ===A. The Eight Tang-Song Prose Masters===<br /> [[File:Tang Song Ba Da Jia.jpg]]<br /> <br /> ===Brief Introduction of The Eight Tang-Song Prose Masters===<br /> <br /> The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &quot;Ancient Prose Movement&quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25） <br /> In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)<br /> <br /> '''1. Han Yu'''<br /> [[File:Han Yu.jpg]]<br /> <br /> Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)<br /> Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)<br /> <br /> '''2. Liu Zongyuan'''<br /> [[File:Liu Zongyuan.jpg]]<br /> <br /> Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &quot;Liu Hedong &quot;, &quot; Mr. Hedong &quot;, also known as&quot; Liu Liuzhou &quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor .<br /> He was juxtaposed with Han Yu as &quot;Han Liu &quot;, with Liu Yuxi as &quot; Liu Liu &quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &quot;Wang Meng Wei Liu &quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &quot;Liu He Dong Colloection&quot; was one of his representatives. (Zhou Zhenfu 2016, 26)<br /> He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)<br /> <br /> '''3. Ouyang Xiu'''<br /> [[File:Ouyang Xiu.jpg]]<br /> <br /> Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.<br /> Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.<br /> Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)<br /> <br /> '''4. Su Xun'''<br /> [[File:Su Xun.jpg]]<br /> <br /> Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.<br /> Su Xun was a man of political ambition. He said that the main purpose of his works was &quot;to speak for the world &quot;, to&quot; apply to the present &quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)<br /> <br /> '''5. Su Shi'''<br /> [[File:Su Shi.jpg]]<br /> <br /> Su Shi, with a fame as &quot; Dongpo Jushi &quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .<br /> Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &quot;Han Chao Su hai&quot; with Han Yu in the prose area, &quot;Ou Su&quot; with Ouyang Xiu, &quot;Su Huang&quot; with Huang Tingjian, and &quot;Su Xin&quot; with Xin Qiji in the Ci area, so he was called &quot;the first all-round talent in ancient China&quot;.(Zhou Zhenfu 2016, 28)<br /> Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &quot;creating for certain purposes&quot;, advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.<br /> <br /> '''6. Su Zhe'''<br /> [[File:Su Zhe.jpg]]<br /> <br /> Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch.<br /> Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &quot;literary style&quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &quot;Ode to Ink bamboo&quot;.(Zhou Zhenfu 2016, 29)<br /> <br /> '''7. Wang Anshi'''<br /> [[File:Wang Anshi.jpg]]<br /> <br /> Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .<br /> Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)<br /> <br /> '''8. Zeng Gong'''<br /> [[File:Zeng Gong.jpg]]<br /> <br /> Zeng Gong was known as &quot;Mr. Nan Feng&quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &quot;eight masters&quot; of the Tang and Song Dynasties, he was also one of the &quot;Seven Zengs of Nanfeng&quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.<br /> <br /> '''9. Comparison between the Ancient Prose Movement and Renaissance'''<br /> Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)<br /> <br /> Comparison in ideology:<br /> The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.<br /> <br /> Comparison in writing style:<br /> The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)<br /> <br /> Comparison in literary form:<br /> The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&quot; Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)<br /> <br /> ===B. Terms and Expressions===<br /> The Eight Tang-Song Prose Masters 唐宋八大家<br /> <br /> Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》<br /> <br /> Ancient Prose Movement 古文运动<br /> <br /> parallel prose 骈文<br /> <br /> The Decline of Eight Generations 文起八代之衰<br /> <br /> The Article Giant 文章巨公<br /> <br /> Admired Literate of One Hundred Generations 百代文宗<br /> <br /> Han Changli Collection 《韩昌黎集》<br /> <br /> External collection 《外集》<br /> <br /> The Teacher's Theory《师说》<br /> <br /> Pre-Qin and Han Dynasties 先秦两汉时期<br /> <br /> writing in classical Chinese 文言文<br /> <br /> feudal provincial of Liuzhou 柳州刺史<br /> <br /> official supervisor of imperial censor 监察御史<br /> <br /> Liu He Dong Colloection 《柳河东集》<br /> <br /> Northern Song Dynasty 北宋<br /> <br /> a thousand volumes of collections of inscriptions 金石遗文一千卷<br /> <br /> Xia, Shang, Zhou Dynasties 三代<br /> <br /> the crown of that time 一时之冠<br /> <br /> Southern Tang Dynasty 南唐<br /> <br /> Yu Feng 余风<br /> <br /> The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》<br /> <br /> the Northern Song Dynasty poetry innovation movement北宋诗文革新运动<br /> <br /> Heng Lun 《衡论》<br /> <br /> Duke Jingguo 荆国公<br /> <br /> The Book to the Emperor 《上皇帝书》<br /> <br /> Dongpo Jushi 东坡居士<br /> <br /> Ci writer 词人<br /> <br /> Unconstrained Ci School豪放派<br /> <br /> literary and artistic attainments 文学艺术造诣<br /> <br /> the first all-round talent in ancient China 中国古代第一全才<br /> <br /> Su Men Four bachelors 苏门四学士<br /> <br /> the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》<br /> <br /> The New Theory《新论》<br /> <br /> On the Six Kingdoms 《六国论》<br /> <br /> Ode 赋<br /> <br /> The Ode to Ink bamboo 《墨竹赋》<br /> <br /> Seven Zengs of Nanfeng 南丰七曾<br /> <br /> the doctrine before the text先道后文<br /> <br /> the Book to Ouyang She Ren 《上欧阳舍人书》<br /> <br /> the Book to Bachelor Cai 《上蔡学士书》<br /> <br /> the Six Dynasties 六朝<br /> <br /> ===C. Questions===<br /> 1.Who are the pioneers of the Ancient Prose Movement?<br /> <br /> 2.Which kind of prose they advocate in the Ancient Prose Movement?<br /> <br /> 3.Do you know any representatives of Liu Zongyuan?<br /> <br /> 4.Why Ouyang Xiu is called &quot;Liu Yi Scholar&quot;?<br /> <br /> 5.What’s the relationship among Su Xun, Su Shi and Su Zhe?<br /> <br /> 6.Who are the &quot;Seven Zengs of Nanfeng&quot;?<br /> <br /> 7.Do you know any about the Renaissance?<br /> <br /> ===D. Answers===<br /> <br /> 1.Han Yu and Liu Zongyuan.<br /> <br /> 2.The prose of Pre-Qin and Han Dynasties.<br /> <br /> 3.The &quot;Liu He Dong Colloection&quot;.<br /> <br /> 4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.<br /> <br /> 5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.<br /> <br /> 6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> <br /> 7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.<br /> <br /> ===References===<br /> Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.<br /> <br /> Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.<br /> <br /> He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.<br /> <br /> Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.<br /> <br /> Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).<br /> <br /> Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.<br /> <br /> Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.<br /> <br /> ==Music, Instruments, Pipa - Gao Mingzhu 高明珠==<br /> [Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu<br /> <br /> '''1. A Brief Introduction'''<br /> <br /> Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&quot; and &quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)<br /> <br /> '''2.The Development of Pipa'''<br /> <br /> The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)<br /> <br /> During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one kind playing skill in playing pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16) <br /> <br /> There was only one kind playing skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from small to popular. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> '''3.Pipa Schools and Their Chracteristics'''<br /> <br /> The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)<br /> <br /> (1)The Wuxi school<br /> <br /> The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)<br /> <br /> (2)The Pinghu school<br /> <br /> The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as &quot; paired butterfly flying&quot; .(Deng Sijia 2020,10)<br /> <br /> (3)The Pudong School <br /> <br /> Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)<br /> <br /> (4)The Chongming school<br /> <br /> The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)<br /> <br /> (5)The Shanghai school<br /> <br /> This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)<br /> <br /> '''4.Traditional Pipa Music'''<br /> <br /> Traditional pipa music can be divided into military songs, literary songs and military-literary songs.<br /> <br /> Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are &quot;Ambush on All Sides&quot;, &quot;Bury Me High&quot;, &quot;Hai Qing Hunting the Swan&quot;, &quot;General Order in the Han Dynasty&quot;. [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)<br /> <br /> Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; and so on.<br /> <br /> Military-literary song is the combination of martial song and literary song. The representative songs are &quot;The Spring Snow&quot;, &quot;High Mountain and Flowing Water&quot;, &quot;Dragon Boat&quot;, &quot;Flute and Drum at Sunset&quot; and so on.<br /> <br /> '''5.Refferences''' [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> [1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020<br /> <br /> [2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.<br /> <br /> [3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.<br /> <br /> [4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.<br /> <br /> [Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> '''6.Terms and Expressions'''<br /> <br /> 弹拨乐器—plucked instruments<br /> <br /> 汉化—Chinesization<br /> <br /> 套曲—divertimentoes<br /> <br /> 游牧民族—nomad tribe<br /> <br /> 宫廷乐—court music<br /> <br /> 轮指法—tremolo<br /> <br /> 音色—timbre<br /> <br /> 曲目—repertoire<br /> <br /> 并弦—parallel string<br /> <br /> 指法—fingering techniques<br /> <br /> '''7.Questions'''<br /> <br /> 1、How many stages did pipa go through during its development?<br /> <br /> 2、What characteristics did pipa have during Wei and Jin dynasties?<br /> <br /> 3、What changes had been made to pipa during Ming and Qing dynasties?<br /> <br /> 4、How many schools does pipa have and what are they?<br /> <br /> 5、Can you list at least 3 representative repertoires of literary songs played by pipa? <br /> <br /> '''8.Answers'''<br /> <br /> 1、Four.<br /> <br /> 2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.<br /> <br /> 3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. <br /> <br /> 4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school. <br /> <br /> 5、&quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; .<br /> <br /> [Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> ===Terms and Expressions===<br /> ===xxx===<br /> <br /> ==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001== Major.................<br /> === Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === <br /> <br /> The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?<br /> <br /> '''1. Huli-jing (狐狸精) in China'''<br /> <br /> First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.<br /> <br /> People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.<br /> <br /> Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.<br /> <br /> The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.<br /> <br /> Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.<br /> A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &quot;Good Hunt&quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.<br /> <br /> In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &quot;Painted Skin (畫皮)&quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.<br /> <br /> In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.<br /> <br /> Quite a lot of information about werewolf foxes can be obtained from the TV series &quot;The Legend of the Nine-Tailed Fox&quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.<br /> <br /> Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.<br /> <br /> The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.<br /> <br /> '''2. Kitsune (キツネ) in Japan''' <br /> <br /> In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&quot;Fox-messenger&quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.<br /> <br /> Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.<br /> <br /> Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.<br /> <br /> A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. <br /> <br /> '''3. Kumiho (구미호) in Korea'''<br /> <br /> Kumiho - (구 &quot;ku&quot; - nine, 미 &quot;mi&quot; - tail, 호 &quot;ho&quot; - fox - &quot;fox with nine tails&quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.<br /> <br /> In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> Shape shifter – 成精<br /> <br /> Creature –生物<br /> <br /> Seductive –诱人的<br /> <br /> Damnation –诅咒<br /> <br /> Metaphor –隐喻<br /> <br /> Ascribe –属性<br /> <br /> Indigenous –土着<br /> <br /> Deity – 反面人物<br /> <br /> Liver – 肝脏<br /> <br /> ===References===<br /> <br /> 1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.<br /> <br /> 2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.<br /> <br /> 3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.<br /> <br /> ===Questions===<br /> <br /> 1. What was the attitude towards the Huli Jing in Ancient China?<br /> <br /> 2. Can we characterize Kitsune as a positive or negative character?<br /> <br /> 3. Could Kumiho become human forever?<br /> <br /> ===Answers===<br /> <br /> 1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.<br /> <br /> 2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.<br /> <br /> 3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.<br /> References ..................<br /> <br /> ==Chinese Characters - Gu Dongfang 顾东方==<br /> Chinese Characters<br /> <br /> ===Origin===<br /> <br /> Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）<br /> <br /> ===Evolution of Chinese characters===<br /> [[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]<br /> Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)<br /> <br /> ===Ancient Chinese characters===<br /> <br /> ====Oracle bone script====<br /> <br /> Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).<br /> <br /> ====Bronze script====<br /> <br /> In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.<br /> <br /> ====Seal script====<br /> Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. <br /> The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.<br /> <br /> ===Modern characters===<br /> ====Clerical script====<br /> <br /> After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.<br /> From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.<br /> <br /> ====Regular script====<br /> <br /> Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.<br /> <br /> ===Formation of Chinese characters===<br /> <br /> ====Pictograms====<br /> <br /> Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &quot;sun,&quot; 月 (yuè) for &quot;moon,&quot; and 木 (mù) for &quot;tree.&quot;<br /> <br /> ====Pictophonetic compounds====<br /> <br /> Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.<br /> <br /> ====Ideograph ====<br /> <br /> Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &quot;knife,&quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &quot;blade.&quot; Other common examples are 上 (shàng) for &quot;up&quot; and 下 (xià) for &quot;down.&quot; This category is small, as most concepts can be represented by characters in other categories.<br /> <br /> ====Logical aggregates====<br /> <br /> Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light.<br /> <br /> ====Associate transformation====<br /> <br /> Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &quot;elderly person,&quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.<br /> <br /> ====Borrowing ====<br /> <br /> Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)<br /> <br /> ===Simplification of Chinese characters===<br /> <br /> The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)<br /> <br /> ===Terms and expressions===<br /> <br /> 1.Oracle Bone Inscriptions  甲骨文<br /> <br /> 2.Bronze Inscriptions 金文<br /> <br /> 3.Small seal characters 小篆<br /> <br /> 4.Official script 隶书<br /> <br /> 5.Regular script 楷书<br /> <br /> 6.Cursive writing 草书<br /> <br /> 7.Cang Jie 仓颉<br /> <br /> <br /> 8.Clerical script 楷书<br /> <br /> 9.Su Shi 苏轼<br /> <br /> 10. Wang Xizhi 王羲之<br /> <br /> 11.Ou Yangxun 欧阳询<br /> <br /> 12.Yan Zhenqing 颜真卿<br /> <br /> 13.Pictograms 象形<br /> <br /> 14. Pictophonetic compounds 指事<br /> <br /> 15.Ideograph 会意<br /> <br /> 16.Logical aggregates 形声<br /> <br /> 17.Associate transformation 转注<br /> <br /> 18.Borrowing 假借<br /> <br /> ===Question===<br /> 1.How many Chinese characters are there?<br /> <br /> 2.How many letters are in the Chinese alphabet?<br /> <br /> 3. How many formations of Chinese characters? What are they?<br /> <br /> ===Answers===<br /> 1. According to the latest statics, there are nearly 91251 Chinese characters recorded .<br /> <br /> 2. There are 26 letters in Chinese alphabet.<br /> <br /> 3. Six formations are included in Chinese characters system, and they are Pictograms<br /> Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing<br /> <br /> ===References===<br /> <br /> 1.王显春. 汉字的起源[M]. 学林出版社, 2002.<br /> <br /> 2.刘又辛. &quot;关于汉字发展史的几个问题(上).&quot; 语文建设 12(1998):34-37.<br /> <br /> 3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188<br /> <br /> 4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.<br /> <br /> ==Chinese Knots - Guan Qinqing 管钦清==<br /> <br /> ===A.Chinese Knots===<br /> <br /> ====1.A Brief Introduction about Chinese Knots====<br /> <br /> The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It <br /> <br /> originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.<br /> <br /> The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.<br /> <br /> The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and <br /> <br /> personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which <br /> <br /> earned the knot its name.<br /> <br /> ====2.The Classification of Chinese Knots====<br /> <br /> There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥<br /> <br /> 结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井<br /> <br /> 结）,Cross Knot(十字结） and Ping Knot（平结）.<br /> <br /> Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. <br /> <br /> =====2.1.The Double Coin Knot=====<br /> <br /> Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views <br /> <br /> on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only <br /> <br /> represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &quot;luck money&quot;. Therefore, for <br /> <br /> the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes <br /> <br /> &quot;good things come in pairs&quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful <br /> <br /> patterns, such as clouds and Perfect Knots，etc.<br /> <br /> =====2.2.The Good Luck Knot=====<br /> <br /> As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.<br /> <br /> And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.<br /> <br /> =====2.3.The Pan Chang Knot=====<br /> <br /> Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the <br /> <br /> avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is <br /> <br /> often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.<br /> <br /> ====3.The Knitting Method of Chinese Knots====<br /> <br /> The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.<br /> <br /> The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.<br /> <br /> ====4.The Cultural Connotations of Chinese Knots====<br /> <br /> Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of <br /> <br /> rope and thread.In Chinese， &quot;rope&quot; (绳）and &quot;god&quot; （神）are homophonic, so the Chinese nation has a worship of &quot;rope&quot;. In addition, Chinese people are descendants of <br /> <br /> dragons.Because the shape of &quot;rope&quot; is like a winding dragon, people also regard &quot;rope&quot; as a symbol of dragon. Chinese people also have their own unique understanding of <br /> <br /> &quot;knot&quot;, which means reunion and happiness. Many of the Chinese words composed of &quot;结&quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交<br /> <br /> （making friends), and 永结同心（tie the knot),etc. &quot;结&quot;(knot) is also homonymous with &quot;吉&quot;（ausipiciousness), so people even think that &quot;knot&quot; is a symbol of good luck.<br /> <br /> ====5.Comparisons between Chinese Knots and Cross Necklaces====<br /> <br /> =====5.1.Different Cultural Connotations=====<br /> <br /> From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of <br /> <br /> Christianity. The cross, derived from the Latin &quot;crux&quot;, means &quot;fork&quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient <br /> <br /> Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross <br /> <br /> ornaments in the west as cross necknaces are usually used to represent love and salvation.<br /> <br /> =====5.2.Different Shapes=====<br /> <br /> Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have <br /> <br /> different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.<br /> <br /> ====6.References====<br /> <br /> 李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.<br /> <br /> 李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.<br /> <br /> 许星.路论中国结[J].丝绸,2004(02) : 46-47.<br /> <br /> 邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.<br /> <br /> 王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.<br /> <br /> ===B. Terms and Expressions===<br /> <br /> Double Coin Knot 双钱结<br /> <br /> Good Luck Knot 吉祥结<br /> <br /> Chinese Button Knot 纽扣结<br /> <br /> Sauvastika Knot 万字结<br /> <br /> Oxalis Knot 酢浆草结<br /> <br /> Pan Chang Knot 盘长结<br /> <br /> Round Brocade Knot 团锦结<br /> <br /> Caisson Celling Knot 藻井结<br /> <br /> Cross Knot 十字结<br /> <br /> Ping Knot 平结<br /> <br /> tie the knot 永结同心<br /> <br /> luck money 压岁钱<br /> <br /> the bishop's identity 主教职权<br /> <br /> ===C. Questions===<br /> <br /> 1. What is the Chinese knot?<br /> <br /> 2. Do you know the names of the main Chinese knots? What are they?<br /> <br /> 3. What do &quot;绳&quot; and &quot;结&quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> ==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==<br /> <br /> [[File:Chinese Mythology.jpg|thumb|right|Panku]]<br /> <br /> ===Introduction===<br /> <br /> The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.<br /> <br /> ===A. Panku Created the World===<br /> <br /> In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).<br /> <br /> At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 &quot;li&quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).<br /> Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.<br /> <br /> ===B. NuWa Created Human Beings===<br /> <br /> [[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]<br /> <br /> Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).<br /> <br /> As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.<br /> <br /> During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.<br /> <br /> ===C. Fushi Taught the People=== <br /> <br /> In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .<br /> <br /> Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &quot;trigrams&quot;, in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This &quot;trigrams&quot; was also a mean to interpret future and consult oracle about the right ways to follow.<br /> <br /> Finally, Fushi gave his last gift (music) in order people can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &quot;pipa&quot; (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history. Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. <br /> <br /> ===D. Water War===<br /> <br /> Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as a very big giants with different shapes, Gong shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).<br /> <br /> Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).<br /> <br /> In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.<br /> <br /> ===E. Terms and Expressions===<br /> <br /> Chinese Mythology 中国神话<br /> <br /> Panku 盤古<br /> <br /> Yin/Yang 陰陽 / 阴阳<br /> <br /> Nuwa 女媧<br /> <br /> Fushi 伏羲<br /> <br /> Water War 水战<br /> <br /> ===F. Questions===<br /> <br /> 1. Why an egg a good symbol for the beginning of the world?<br /> <br /> 2. Why Nuwa decided to create human beings?<br /> <br /> 3. What did Fushi taught to people?<br /> <br /> 4. What was the cause of Gong and Zurong’s war and who won?<br /> <br /> ===G. Answers===<br /> <br /> 1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.<br /> <br /> 2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.<br /> <br /> 3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.<br /> <br /> 4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.<br /> <br /> ===References===<br /> <br /> 1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.<br /> <br /> 2. Irene Dea Collier. (2001). &quot;Chinese Mythology&quot;. Library of Congress Cataloging-in-Publication Data.<br /> <br /> 3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg<br /> <br /> 4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)<br /> <br /> ==Gods and Immortals - Gui Yizhi 桂一枝==<br /> <br /> ===Chinese gods and immortals===<br /> <br /> ====Chinese mythology system====<br /> <br /> Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.<br /> <br /> Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.<br /> <br /> The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).<br /> <br /> Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &quot;Way&quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.<br /> <br /> At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &quot;most widely beloved Buddhist Divinity&quot; with miraculous powers to assist all those who pray to her.<br /> <br /> ====神 shén, 帝 dì and 仙 xiān====<br /> <br /> Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. dì, sometimes translated as &quot;thearch&quot;, implies a manifested or incarnate &quot;godly&quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.<br /> <br /> ====Eight immortals====<br /> <br /> The Eight Immortals are a group of legendary xian (&quot;immortals&quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &quot;Covert Eight Immortals&quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.<br /> <br /> The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism. <br /> <br /> The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &quot;The Eight Immortals cross the sea, each reveals its divine powers&quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.<br /> <br /> ===Terms and Expressions===<br /> <br /> immortals 仙 <br /> <br /> mythology 神话，神话学<br /> <br /> cosmology 宇宙论，宇宙观 <br /> <br /> monolithic 整体（式）的<br /> <br /> the Battle of Zhuolu 涿鹿之战<br /> <br /> pantheistic 泛神论的 <br /> <br /> polytheistic 多神论的<br /> <br /> Three Pure Ones 三清<br /> <br /> anthropomorphic 人格化的<br /> <br /> tutelary 守护神 <br /> <br /> deity 神<br /> <br /> Buddha 佛 <br /> <br /> Shakyamuni 释迦牟尼<br /> <br /> Amitabha 阿弥陀佛 <br /> <br /> Amitāyus 无量寿佛<br /> <br /> celestial 天的 <br /> <br /> Bodhisattva 菩萨 <br /> <br /> Pure Land 极乐世界 <br /> <br /> vessels 法器<br /> <br /> Covert Eight Immortals 暗八仙 <br /> <br /> Taoist 道家的，道士<br /> <br /> ===Questions===<br /> <br /> 1. What are the topics of the Ancient mythology?<br /> <br /> 2. What are the differences among shén, dì and xiān?<br /> <br /> 3. What do the Eight immortals represent respectively?<br /> <br /> ===Answers===<br /> 1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.<br /> <br /> 2. shén and dì corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> 3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.<br /> <br /> ===References===<br /> <br /> [1]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.pp11-12<br /> <br /> [2]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.pp.63-67 <br /> <br /> [3]柏杨．中国人史纲：时代文艺出版社，1987.pp. 34-40<br /> <br /> [4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear &amp; Company.pp.27-28 <br /> <br /> [5]Buddhism, the Fulfilment of Hinduism P37<br /> <br /> [6]胡亚楠. 从神到仙：先秦时期神仙信仰的形成因素研究[D].哈尔滨师范大学,2020.<br /> <br /> [7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.pp. 200-201<br /> <br /> [8]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [9]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [10]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago. pp. 313, 319–334.<br /> <br /> ==Literature, Tang and Song - Guo Lu 郭露 202070080588==<br /> <br /> ===Classical Prose Movement of late Tang Dynasty and Song Dynasty===<br /> <br /> ====Introduction====<br /> <br /> “The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its deep.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)<br /> <br /> ====Development====<br /> <br /> The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)<br /> <br /> However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)<br /> <br /> After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) <br /> <br /> ====Representatives====<br /> <br /> '''1.Han Yu'''<br /> <br /> Han Yu (768 – 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &quot;Eight Great Prose Masters of the Tang and Song&quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)<br /> <br /> Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)<br /> <br /> '''2.Liu Zongyuan'''<br /> <br /> Liu Zongyuan (773 – 819), courtesy name Zihou, also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese literature, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &quot;Jiangxue&quot;. (Yang Shengli 2020, 42-44)<br /> <br /> '''3.Ouyang Xiu'''<br /> <br /> Ouyang Xiu (1007 – 1072), courtesy name Yong Shu, also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)<br /> <br /> Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)<br /> <br /> Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)<br /> <br /> ====Masterworks====<br /> <br /> Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)<br /> <br /> ====Influence====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)<br /> <br /> ====Terms and Expressions====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家<br /> <br /> Classical Prose Movement 古文运动<br /> <br /> ''Eight Records of Excursions in Yongzhou'' 《永州八记》<br /> <br /> ''On Teachers'' 《师说》<br /> <br /> ''New Book of Tang'' 《新唐书》<br /> <br /> ''Historical Records of the Five Dynasties'' 《新五代史》<br /> <br /> ''Zuiweng Tingji'' 《醉翁亭记》<br /> <br /> ''Shang Zhongyong'' 《伤仲永》<br /> <br /> ''On Jia Yi'' 《贾谊论》<br /> <br /> ''First Ode to the Red Cliff'' 《赤壁赋》<br /> <br /> ====Questions====<br /> <br /> 1. Who were the first promoters of the Classical Prose Movement?<br /> <br /> 2. What does the Classical Prose Movement mean?<br /> <br /> 3. What's political and religious purposes of the Classical Prose Movement?<br /> <br /> ====Answers====<br /> <br /> 1. The first promoters of this movement were Han Yu and Liu Zongyuan.<br /> <br /> 2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.<br /> <br /> 3. The reason what Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.<br /> <br /> ====References====<br /> <br /> Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.<br /> <br /> Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.<br /> <br /> Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.<br /> <br /> Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.<br /> <br /> Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.<br /> <br /> Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.<br /> <br /> Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.<br /> <br /> ==The tradition of Red envelope and Lucky money - Ha, Thi Thu Hang - 201921080008==<br /> <br /> ===The Chinese Red Envelope and Lucky money tradition===<br /> <br /> In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.<br /> <br /> ====The Legend====<br /> <br /> In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> <br /> One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> There are also other legends about this custom related to the son Duong Quy Phi of the Tang dynasty - China and the Qin dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.<br /> <br /> ====The tradition====<br /> <br /> The Chinese custom of lucky money is called &quot;Hongbao&quot;. Chinese people really like red, so the lucky money is always red, symbolizing luck and happiness. The red envelope is called yasui qian (压岁钱 /Yāsuìqián/), which means &quot;suppressing ghosts money&quot;. Those who receive a red envelope are wished another safe and pea Sending red envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese lucky money must avoid the number 4 and be sealed. The children, after receiving the lucky money, do not open it immediately, but have to put it all under the pillow after about a week to open it, it is impolite to open a red envelope in front of the person who gives it to you. The meaning of this is for the lucky money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese lucky money.<br /> <br /> Red envelopes, also called red packets, lucky money, or &quot;hongbao&quot; in Chinese, &quot;li shi&quot; / &quot;li xi&quot; in Vietnamese are a popular monetary gift given on some important occasions or festivals in China, Vietnam, Korea, Japan, some other Asian countries, especially widely seen during the Chinese New Year (Spring Festival). During Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into.<br /> <br /> ====Outside of China====<br /> <br /> The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent.<br /> <br /> Each country has different ways of lucky money and changes over time, but the basic custom of lucky money is to want to send wishes of peace to all relatives and friends in the new year.<br /> In Vietnam, the Lunar New Year is one of the great holidays of the year. The traditional New Year's customs are still preserved, in which the lucky money is typical. On the first day of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give lucky money to the children with the message of good luck, good care and good study. Today, the tradition of lucky money in Vietnam is also expanded in the direction that children give lucky money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.<br /> <br /> In Japan, lucky money is called Otoshidama. Unlike other countries, the amount of Japanese lucky money depends on the child's age, the relationship of the family. Otoshidama red envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese red envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the lucky money will be written on the red envelope to show respect for the recipient. The message of each Otoshidama red envelopes is a wish for a warm, peaceful and lucky new year.<br /> <br /> In Korea, the lucky money is called Sabae. On New Year's Day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive lucky money together with wishes for health and peace in the new year. The lucky money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems...<br /> <br /> ===Terms and Expressions===<br /> Luckymoney 利市 /Lì shì/ <br /> <br /> Red envelope 紅包 /Hóngbāo/ <br /> <br /> Confucianism 儒教 /Rújiào/ <br /> <br /> Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/<br /> <br /> ===Questions===<br /> <br /> 1. Do you know the origin of giving Lunar new year lucky money to children？<br /> <br /> ===Answers===<br /> <br /> 1. In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> ===References===<br /> https://en.wikipedia.org/wiki/Red_envelope [https://en.wikipedia.org/wiki/Red_envelope]<br /> <br /> ==Calendar, The 24 Solar Terms - He Changqi 何长琦==<br /> ==='''The Twenty-four Solar Terms'''===<br /> <br /> ===1. The orgin and development of the twenty-four solar terms===<br /> <br /> “The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）<br /> <br /> ===2. The definition and classification of the twenty-four solar terms===<br /> <br /> “The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. <br /> A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate. The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.<br /> (Yuan Jixi 2016:)<br /> <br /> ===3.Folklore of the 24 solar terms===<br /> <br /> The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the &quot;whipping of the spring bull&quot; at the beginning of spring and the &quot;tailing festival&quot; at the end of the cold season. Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &quot;the unity of heaven and man, in accordance with the four seasons&quot;, the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. <br /> <br /> These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &quot;biting the spring&quot; on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)<br /> <br /> ===4.Importance and values===<br /> <br /> ===4.1 Importance in ancient times===<br /> <br /> The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. The 24 solar terms have played an important role in the life and work of traditional Chinese people.<br /> Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that &quot;if the agricultural time is not violated, there will be sufficient grain supply.&quot; (Mencius - Liang Huiwang). Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives. For example, the &quot;Four Beginnings&quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)<br /> <br /> ===4.2 Values in modern society===<br /> <br /> In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation. It still has its practical values in modern society.<br /> Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture. Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature. Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)<br /> <br /> ===Terms and Expressions===<br /> <br /> the Beginning of Spring 立春<br /> <br /> Beginning of Autumn 立秋<br /> <br /> Rain Water 雨水 <br /> <br /> End of Heat 处暑<br /> <br /> Insects Awakening 惊蛰 <br /> <br /> White Dew 白露<br /> <br /> Spring Equinox 春分 <br /> <br /> Autumnal Equinox 秋分<br /> <br /> Fresh Green 清明 <br /> <br /> Cold Dew 寒露<br /> <br /> Grain Rain 谷雨 <br /> <br /> First Frost 霜降 <br /> <br /> Beginning of Summer 立夏 <br /> <br /> Beginning of Winter 立冬<br /> <br /> Lesser Fullness 小满 <br /> <br /> Light Snow 小雪<br /> <br /> Grain in Ear 芒种 <br /> <br /> Heavy Snow 大雪<br /> <br /> Summer Solstice 夏至<br /> <br /> Winter Solstice 冬至<br /> <br /> Lesser Heat 大暑<br /> <br /> Lesser Cold 小寒<br /> <br /> Greater Heat 立春 <br /> <br /> Greater Cold 大寒<br /> <br /> ===Questions===<br /> 1.1.What are the first four solar terms measured by ancient Chinese people?<br /> <br /> 2.Where does the 24 solar terms originate from?<br /> <br /> 3. What are the eight solar terms that reflect seasonal changes？<br /> <br /> 4.When was included in the World Intangible Cultural Heritage List? <br /> <br /> 5.What are the food customs in the Beginning of Spring?<br /> <br /> 6.Do you konw any other folklore of the 24 solar terms?<br /> ===Answers===<br /> 1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.<br /> <br /> 2.It originated in the Yellow River valley.<br /> <br /> 3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice<br /> <br /> 4.In 2016.<br /> <br /> 5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.<br /> <br /> 6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the &quot;Sage of Medicine&quot;, invented the &quot;jiaozi&quot; to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as &quot;dumpling&quot; or jiaozi. Today there is still a saying that goes &quot;Eat dumplings on Start of Winter Day, or your ears will be frostbitten.&quot;<br /> <br /> ===References===<br /> Yuan Jix. 袁济喜. (2016). &quot;中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)<br /> <br /> Wang Jiahua. 王加华.（2019.9.20）&quot;China Social Science Network&quot; http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml<br /> <br /> Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）&quot;Chinanews&quot; http://www.chinanews.com/cul/2020/11-17/9340057.shtml <br /> <br /> He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html<br /> <br /> ==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==<br /> <br /> ===Collection of Yue Fu Poetry《乐府诗集》===<br /> <br /> ====Introduction====<br /> <br /> '''1.Brief introduction'''<br /> <br /> ''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. &quot;Yuefu&quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)<br /> <br /> '''2.About the author'''<br /> <br /> Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation.(Wu Ting 2007, 22)<br /> <br /> '''3.Content introduction'''<br /> <br /> It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &quot;Yuefu Poetry Collection&quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties.(Wu Ting 2007, 30)<br /> <br /> ====Masterpieces====<br /> <br /> '''1.''The Peacock Flies to Southeast'''''<br /> <br /> ''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit.As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed.(Wu Ting 2007, 36)<br /> <br /> '''2.''Mulan Poetry'''''<br /> <br /> ''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &quot;Mulan is a girl&quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)<br /> <br /> ====Evaluation====<br /> <br /> '''1.Contributions'''<br /> <br /> The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &quot;Moshangsang&quot;, &quot;dongmenxing&quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. Yuefu Poetry Collection introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)<br /> <br /> '''2.Shortcomings'''<br /> <br /> There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)<br /> <br /> ===References===<br /> Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)<br /> <br /> Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Collection of Yue Fu Poetry''《乐府诗集》<br /> <br /> Jiaomiao songs郊庙歌辞<br /> <br /> Yanshe songs燕射歌辞<br /> <br /> Guchui drum songs鼓吹曲辞<br /> <br /> Hengchui songs横吹曲辞<br /> <br /> Xianghe songs相和歌辞<br /> <br /> ''The Peacock Flies to Southeast'' 《孔雀东南飞》<br /> <br /> ''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)<br /> <br /> ===Questions===<br /> <br /> 1.When was Yuefu Poetry compiled？<br /> <br /> 2.Which institution did &quot;Yuefu&quot; belong to?<br /> <br /> 3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.In Song Dynasty.<br /> <br /> 2.It belongs to the institution in charge of music.<br /> <br /> 3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)<br /> <br /> ==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==<br /> <br /> ===Eight Major Cuisines of China===<br /> <br /> ====1. A Brief Introduction About Chinese Cuisine====<br /> As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &quot;four major cuisines.&quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &quot;eight major cuisines&quot; of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)<br /> <br /> ====2. The Classification of Chinese Cuisines====<br /> <br /> China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)<br /> <br /> =====2.1 Shandong Cuisine=====<br /> Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)<br /> =====2.2 Sichuan Cuisine=====<br /> Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one <br /> of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)<br /> =====2.3 Guangdong Cuisine=====<br /> Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)<br /> =====2.4 Fujian Cuisine=====<br /> Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &quot;pickled taste&quot;. (Shi Hongmei 2009, 55)<br /> =====2.5 Jiangsu Cuisine=====<br /> Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)<br /> =====2.6 Zhejiang Cuisine=====<br /> Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)<br /> =====2.7 Hunan Cuisine=====<br /> Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)<br /> =====2.8 Anhui Cuisine=====<br /> Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)<br /> <br /> ====3. A Comparison of Chinese-Western Diet Culture====<br /> <br /> Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)<br /> <br /> Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods.(Caihua 2009, 57)<br /> <br /> ====References====<br /> <br /> Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.<br /> <br /> Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.<br /> <br /> Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.<br /> <br /> Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．<br /> <br /> Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.<br /> <br /> ===Terms and Expressions===<br /> <br /> pot-stewed fowl 卤味<br /> <br /> stewing and simmering 炖，煨<br /> <br /> prickly ash 花椒<br /> <br /> fermented soybean 豆鼓<br /> <br /> Braised Dongpo Pork 东坡肉<br /> <br /> Buddha Jumps over the Wall 佛跳墙<br /> <br /> Kung Pao Chicken 宫保鸡丁<br /> <br /> Bean Sauce Tofu 麻婆豆腐<br /> <br /> ===Questions===<br /> 1. How many types of cuisines are there in china?<br /> <br /> 2. What’s differences between Chinese and western diets?<br /> <br /> 3. What is the origin of Dongpo Meat?<br /> <br /> ===Answers===<br /> 1. Eight<br /> <br /> 2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. <br /> <br /> 3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.<br /> <br /> ==Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting==<br /> <br /> Chinese Paper Cutting 剪纸<br /> <br /> ===Text===<br /> ===Introduction===<br /> The art of paper cutting in China may date back to the second century CE, since paper was invented by Cai Lunin the Eastern Han Dynasty in China. As paper became more affordable, paper-cutting became one of the most important types of Chinese folk art. Later, this art form spread to other parts of the world, with different regions adopting their own cultural styles. Because the cut-outs are often used to decorate doors and windows, they are sometimes referred to as chuanghua, window flowers or window paper-cuts. People glued the papercuts to the exterior of windows, so the light from the inside would shine through the negative space of the cutout.[1] Usually, the artworks are made of red paper, as red is associated with festivities and happiness in Chinese culture, but other colours were also used. Normally paper-cutting artwork is used on festivals like Spring Festival weddings and childbirth. Paper-cuting always symbolizes luck and happiness.<br /> <br /> ===History===<br /> The paper was invented in the Western Han Dynasty (6th century BC), before which there was no paper-cut art. However, at that time, people used thin-film materials to make handicrafts by hollowing out carving techniques, which had been popular since before paper appeared, that is, carving, carving, carving and cutting techniques were used to carve patterns on gold foil, leather, silk and even on leaves. In the historical records, the brother of the cutting Tung Tong describes the Zhou Dynasty king of the Western Zhou Dynasty who cut his &quot;Guiyu&quot; to his brother by using Wutong leaves and Feng Ji Yu to Tang as Hou. During the Warring States period, leather engraving (one of the cultural relics unearthed from No.1 Chu tomb in jianglingwangshan, Hubei Province) and silver foil hollowed out and engraved patterns (one of the cultural relics unearthed from the Warring States site in Guwei village, Huixian County, Henan Province) were used in the Warring States period. Their appearance laid a certain foundation for the formation of folk paper-cut. In the southern and Northern Dynasties, &quot;Mulan Ci&quot; has the poem &quot;yellow to the mirror&quot;. The earliest paper-cut work in China was found in the Northern Dynasty period (386-581 A.D.) unearthed near the Flame Mountain in Turpan, Xinjiang. These paper-cut, the use of repeated folding and image processing techniques.<br /> <br /> In the Ming and Qing Dynasties, the paper-cut handicraft became mature and reached its peak. Folk paper-cut handicrafts are more widely used, such as flower decorations on folk lanterns, patterns on fans, and embroidery patterns, etc., all of which are decorated with paper-cut for reprocessing [9]. What's more, Chinese people often use paper-cut as decoration to beautify the home environment. For example, door stacks, window decorations, cabinet flowers, flower lovers and ceiling flowers are used to decorate doors, windows and rooms.<br /> <br /> At the beginning of the 20th century, the &quot;May 4th&quot; New Culture Movement established the rudiment of Chinese folklore under the advocacy of advanced intellectuals Cai Yuanpei, Lu Xun, Liu Bannong and Zhou Zuoren. They widely collect folk literature materials, but also strive to collect folk art works, including folk paper-cut. In the 1930s, artist Chen Zhinong began the research and creation of folk paper-cut in Beijing. He used sketches and silhouettes to depict a large number of customs and customs in old Beijing, such as street vendors, workshop craftsmen, food stalls and tea picking, markets, temple fairs, and market idlers.<br /> <br /> ===Five Regions===<br /> <br /> <br /> ===Techniques===<br /> ===References===<br /> <br /> ===Terms and Expressions===<br /> <br /> ===Questions===<br /> <br /> ===Answers===<br /> <br /> ==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==<br /> <br /> ===The Chinese Medical Sage - Zhang Zhongjing===<br /> <br /> Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)<br /> <br /> Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)<br /> <br /> This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)<br /> <br /> Later, people called the doctor who sat in the drugstore to treat patients &quot;the doctor sitting in the hall&quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)<br /> <br /> When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)<br /> <br /> There is a Chinese saying that goes, &quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)<br /> <br /> When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)<br /> <br /> Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &quot; Cold Dispelling Jiaoer Soup&quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)<br /> <br /> Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &quot;Cold Dispelling Jiaoer Soup&quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &quot;Cold Dispelling Jiaoer Soup&quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)<br /> <br /> In fact, the way of making &quot;Cold Dispelling Jiaoer Soup&quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &quot;Jiao Er&quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&quot; (首都医药 2003, 40)<br /> <br /> At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)<br /> <br /> <br /> [[File:Zhang_Zhongjing.jpg]]<br /> <br /> ===References===<br /> <br /> 2003(17). 张仲景故乡的二十四个故事(六) 饺子的来历[J]. 首都医药.<br /> <br /> Zhang Maoyun 张茂云. 2014(04). 伤寒杂病论成书年代及仲景生平年代考历[J]. 中国中医药现代远程教育.<br /> <br /> Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. 2013(07). “医圣”张仲景[J]. 中国卫生人才.<br /> <br /> Zhang Deli 张德礼. 2019(05). 心系百姓的“医圣”张仲景[J]. 现代班组.<br /> <br /> Tan Rongzhou 覃荣周. 2013(07). 张仲景对我国医学发展的历史贡献[J]. 兰台世界.<br /> <br /> Zhao Qingxin 赵清新. 1999(05). 万世医宗张仲景[J]. 解放军健康.<br /> <br /> 2020(03). 张仲景:“医圣”之名传天下[J]. 天一. 月读.<br /> <br /> ===Terms and Expressions===<br /> <br /> medical sage 医圣<br /> <br /> Treatise on Febrile and Miscellaneous Diseases《伤寒杂病论》<br /> <br /> treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治<br /> <br /> yamen 衙门<br /> <br /> Great Cold ( 24th solar term ) 大寒<br /> <br /> Slight Cold ( 23rd solar term ) 小寒<br /> <br /> look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切<br /> <br /> Cold Dispelling Jiaoer Soup 祛寒娇耳汤<br /> <br /> ===Questions===<br /> <br /> 1. What's the honorable title Zhang Zhongjing addressed as?<br /> <br /> 2. What's the official role Zhang once taken?<br /> <br /> 3. When would Zhang treat patients for free at yamen?<br /> <br /> 4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?<br /> <br /> 5. What's the relationship between Zhang Zhongjing and dumplings?<br /> <br /> ===Answers===<br /> <br /> 1. Chinese Medical Sage.<br /> <br /> 2. Changsha magistrate.<br /> <br /> 3. He treated patients for free on the first and fifteenth days of every lunar month.<br /> <br /> 4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.<br /> <br /> 5. Dumplings are derived from the recipe &quot; Cold Dispelling Jiaoer Soup&quot; developed by Zhang Zhongjing.<br /> <br /> --[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)<br /> <br /> ==Architecture, Qingming Riverside Landscape Garden-Zeng Liang 曾良 （major）202070080578==<br /> <br /> ===Introduction===<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, and covering an area of more than 600 acres, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the Northern Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park covering an area of more than 600 acresand showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the earlier Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and also, the first batch of 5A-level tourist attractions and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)(文件无效)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng as the capital of the Northern Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, People can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng, the capital of the earlier Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, people can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> There are eight functional zones including posthouse, folk custom, characteristic food street, demonstration of culture in Song Dynasty, flower, bird, fish, bug, prosperous capital, leisure and shopping, and integrated service, and four cultural zones including military drill ground, Rainbow Bridge, folk custom, and capital of Song Dynasty. The main architechtures of the garden include gate building, rainbow bridge, street view, stores, river channels, wharfs and ships. According to the original layout of ''Riverside Scene at Qingming Festival'', the garden presents the fabrications on site such as wine shops, teahouses, pawnshops, Bian (today’s Kaifeng) embroideries, official porcelains, and New Year paintings, gathers folk performance, vaudeville, and drum performance. (Gao Jing 2010,18)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050, and it was reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The Fuyun Pavillion is 31.99 meters high and it is the tallest building in the garden. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050 and reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The tallest building in the garden, the Fuyun Pavillion is 31.99 meters high. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> Every year, Qingming Riverside Landscape Garden will hold a series of cultural festivals, such as folk cultural festival of Song Dynasty, Qingming cultural festival, and chrysanthemum cultural festival. During the folk cultural festival of Song Dynasty, the scenic spot will gather unique folk performances across the country, such as flower-drum on the high platform, stilt, dragon dance, lion dance, small Henan opera. The international lantern exhibition is the highlight of folk cultural festival of Song Dynasty. A visual feast will be brought by auspicious tradition of Chinese Pavilion, the fresheness and refineness of Asian Pavilion, simplicity and fashion of European Pavilion, the quaint Buddhism of the Southeast Asia Pavilion, and the luxurious atmosphere of the African Pavillion. During the Qingming Festival, the garden will hold some Qingming cultural festivals to promote traditional festival culture. At that time, vistors can have an outing in spring, plant willion trees, watch folk customs, taste snacks, and enjoy the large-scale water live performances called ''“Luxuriant Dream of the East Capital of the Great Song Dynasty”.'' This event combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. Chrysanthemum cultural festival is another grand festivl in the garden, during which all kinds of chrysanthemums will be presented.The annual chrysanthemum festival in Kaifeng is held from October to November. Qingming Riverside Landscape Garden focuses on beautiful chrysanthemum plants, and makes full of architectures, sculptures, mountains, the surface of the water and association of activity and inertia to highlight the cultivated and creative skills of Kaifeng people. Chrysanthemums are changed into various shapes, which attracted thousands of visitors from all over the world. In the exhibition, visitors can enjoy and appreciate some species of chrysanthemum that are rarely seen in our daily life. (Zhang Lu 2013,24)<br /> <br /> There are vaious performances presented in the Qingming Riverside Landscape Garden, such as ''Luxuriant Dream of the East Capital of the Great Song Dynasty'', ''Baogong Salute to Guests'', ''Spitting Fire Show'', '''Cockfight''', ''Women’s Polo'' and so on. Among these formances, ''Luxuriant Dream of the East Capital of the Great Song Dynasty'' is a representative show of the garden. It is a large-scale live water performance produced by Qingming Riverside Landscape Garden. The performance is lasted for 70 minutes and is performed by more than 700 actors. It is a scroll about the heyday of the Northern Song Dynasty. The bustling scene of the Song Dynasty market, the prosperity of the capital of Bianliang(today’s Kaifeng), the mighty momentum of luxurious neighboring countries, the tragedy of wars, and the sustenance of blessings constitute a wash painting with a combination of noise and tranquility.(Gao Jing 2010,16)<br /> <br /> Ancient Chinese architectures and western architectures are different. The ancient architectures of China can be divided into palace architecure, religious architecture, mansion architecture and public architecture, which can be seen in the Qingming Riverside Landscape Garden. Compared with the Gothic architecture during the Middles Ages of the western Europe, the architecture of Song Dynasty shows a delicate and soft style, with complex forms of palaces, terraces, towers and pavilions, while Gothic archetecture is magnificent and exquisite. It has pointed vaults, which give people a visual impact and have a strong religious color.(Pang Runxin 2019,10)<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Qingming Riverside Landscape Garden'' 清明上河园<br /> <br /> ''Riverside Scene at Qingming Festival''《清明上河图》<br /> <br /> Rainbow Bridge虹桥<br /> <br /> Fuyun Pavillion浮云阁<br /> <br /> Shangshan Gate 上善门<br /> <br /> chrysanthemum菊花<br /> <br /> ''Baogong Salute to Guests''包公迎宾<br /> <br /> ''Spitting Fire Show''气功喷火<br /> <br /> ''Cockfight''斗鸡<br /> <br /> ''Women’s Polo''女子马球<br /> <br /> ''Luxuriant Dream of the East Capital of the Great Song Dynasty''《大宋·东京梦华》<br /> <br /> ===Questions===<br /> <br /> 1.What is the location of ''Qingming Riverside Landscape Garden''?<br /> <br /> 2.What’s the role of ''Qingming Riverside Landscape Garden'' in China?<br /> <br /> 3.When was ''Qingming Riverside Landscape Garden'' opened to the public?<br /> <br /> 4.Who is the painter of ''Piverside Scene at Qingming Festival''?<br /> <br /> 5.Which dynasty of the painting ''Qingming Riverside Landscape Garden'' present?<br /> <br /> 6.What does the name of ''Fuyun Pavilion'' mean?<br /> <br /> 7.What’s the characteristics of the performance of ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> 8.Can you please list some kinds of performance of ''Qingming Riverside Landscape Garden'' besides ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> ===Answers===<br /> <br /> 1.It is located on the west bank of ''Dragon Pavilion'' in Kaifeng, Henan Province.<br /> <br /> 2.In 2009, ''Qingming Riverside Landscape Garden'' was chosed as China’s first theme park in the style of the ancients by ''China World Records Association''. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s ''intangible cultural heritage exhibition base''. <br /> <br /> 3.It was officially opened to the public on October 28, 1998.<br /> <br /> 4.Zhang Zeduan.<br /> <br /> 5.Northern Song Dynasty.<br /> <br /> 6.The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map.<br /> <br /> 7.It combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. <br /> <br /> 8.''Baogong Salute to Guests'', ''Spitting Fire Show'', ''Cockfight'', ''Women’s Polo''.<br /> <br /> ===References===<br /> <br /> Chen Kang 陈康.(2006).《清明上河园》的精彩场景——贯木拱虹桥[Excellent Scenes of Qingming Riverside Landscape Garden——Wooden Arch Rainbow Bridge].集邮博览Philatelic Panorama(07)62-63.<br /> <br /> Gao Jing高静.(2010). 清明上河园——玩转宋文化[Qingming Riverside Landscape Garden—Fully Experience the Culture of Song Dyansty].光彩Brilliance(04)16-19.<br /> <br /> Li Mei李梅.(2007).清明上河园特色建设与长远发展[Distinctive Architecture of Qingming Riverside Landscape Garden nd its Long Development].合作经济与科技Co-operative Economyand Science(8)10-12.<br /> <br /> Pang Runxin庞润昕.(2019).《清明上河图》的建筑艺术[Architectural Art in Paintings of Riverside Scene Qingming Festival].景德镇陶瓷大学Jingdezheng Ceramic Institute(06)10-16.<br /> <br /> Wei Tuo韦陀.(2006).张择端之《清明上河图》[Riverside Scene at Qingming Festival Painted by Zhang Zeduan].紫禁城Forbidden City（Z2)13-15.<br /> <br /> Zhang Lu张璐.(2013).清明上河园与宋都文化传承创新研究[Inheritance and Innovation Research Study of “Qingming River” Song Dynasty Theme Park].赤峰学院学报Chi Feng College Journal(05)23-27.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:06, 12 December 2020 (UTC) (标点符号之间需要空格）--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_1&diff=112939 2020-12-16T06:23:08Z

<p>Sagara Seydou 3: /* Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001 */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Astrology - Alsied, Saffana==<br /> &quot;Chinese Astrology&quot;--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 17:07, 18 November 2020 (UTC)<br /> <br /> ===The History===<br /> <br /> So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. <br /> <br /> ===The Five Elements And YIN/YANG===<br /> <br /> Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood.<br /> <br /> A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life.<br /> <br /> ===THE FORCES OF YIN / YANG===<br /> <br /> Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.<br /> <br /> A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. <br /> <br /> Chinese astrology was invented to achieve the two following goals;<br /> <br /> 1.) To predict the future,<br /> <br /> 2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise. <br /> <br /> According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. <br /> <br /> Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. <br /> <br /> The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.<br /> <br /> You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Chinese Astrology 中国占星学<br /> <br /> 2. Chinese Zodiac 中国十二生肖<br /> <br /> 3. Agricultural calendar 农业日历<br /> <br /> 4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）<br /> <br /> 5. The Oriental philosophy 东方哲学<br /> <br /> ===Questions===<br /> <br /> 1-Why was Chinese astrology invented?<br /> <br /> 2-How Chinese astrology relates to a person’s divine destiny?<br /> <br /> 3-What important role does the Chinese zodiac play in Chinese culture?<br /> <br /> 4- What is Chinese astrology based on?<br /> <br /> 5-Is Chinese astrology accurate?<br /> <br /> ===Answers===<br /> 1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.<br /> <br /> 2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.<br /> <br /> 3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.<br /> <br /> 4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.<br /> <br /> 5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.<br /> <br /> ===References===<br /> <br /> Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9<br /> <br /> 何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591<br /> <br /> Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.<br /> <br /> Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.<br /> <br /> &quot;&quot;Almanac&quot; &quot;lunar&quot; zodiac beginning of spring as the boundary dislocation? — China Network&quot;. 16 February 2009. Retrieved 5 January 2011.<br /> <br /> Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.<br /> <br /> &quot;Five Elements(Wu Xing)&quot;. YourChineseAstrology.com<br /> <br /> ==Spring Festival Couplets - Cao Runxin 曹润鑫==<br /> [[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]<br /> <br /> ===Spring Festival Couplets===<br /> Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).<br /> <br /> Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).<br /> <br /> The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).<br /> <br /> There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).<br /> <br /> ===References===<br /> <br /> *Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.<br /> *Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.<br /> *Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.<br /> *Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.<br /> <br /> <br /> ===Terms and Expressions ===<br /> Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 <br /> <br /> Paste 贴<br /> <br /> Horizontal scroll 横联<br /> <br /> Upper scroll 上联<br /> <br /> Lower scroll 下联<br /> <br /> ===Questions ===<br /> 1.What’s the purpose of pasting Spring Festival Couplets?<br /> <br /> To expresses people’s delight in the festival and wishes for a better life in the coming year.<br /> <br /> 2.What’s the historical origin of Spring Festival Couplets?<br /> <br /> It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.<br /> <br /> 3.How to read the Spring Festival Couplets?<br /> <br /> First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. <br /> <br /> 4.How to do with the Old Couplets?<br /> <br /> Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.<br /> <br /> ==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - Translation 英语笔译==<br /> <br /> [[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]<br /> <br /> ===Guzheng===<br /> <br /> ''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.<br /> <br /> There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).<br /> <br /> The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)<br /> <br /> [[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=古筝&amp;step_word=&amp;hs=0&amp;pn=27&amp;spn=0&amp;di=9900&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3246661627%2C3658564396&amp;os=3335747328%2C3552694810&amp;simid=0%2C0&amp;adpicid=0&amp;lpn=0&amp;ln=1718&amp;fr=&amp;fmq=1607348039297_R&amp;fm=result&amp;ic=&amp;s=undefined&amp;hd=&amp;latest=&amp;copyright=&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;gsm=1c&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]for original source.]]<br /> <br /> The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)<br /> <br /> Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several other schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)<br /> <br /> In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang played the ''guzheng'' to merge the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)<br /> <br /> From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.<br /> <br /> ===References===<br /> <br /> *Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.<br /> *Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.<br /> *Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. <br /> *Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.<br /> *Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.<br /> *Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.<br /> *Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.<br /> <br /> ===Terms and Expressions===<br /> <br /> *Meng Tian 蒙恬 <br /> *Zhao Lin 赵璘<br /> *''Records on Words'' 《因话录》<br /> *anterior mountain 前岳山 <br /> *posterior mountain 后岳山<br /> *''Yan Zhu'' 雁柱 <br /> *string pegs 弦钉<br /> *turning box 调音盒 <br /> *zither feet 琴足<br /> *paulownia 桐木 <br /> *mahogany 红木<br /> *''Dai Mao'' 玳瑁<br /> *''Yi Jia'' 义甲<br /> *''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹<br /> *''High Mountains and Running Water'' 《高山流水》<br /> *''The Autumn Moon in the Han Palace'' 《汉宫秋月》<br /> *''Jackdaw Playing in the Water'' 《寒鸦戏水》<br /> *''The Tune of Liu Qing Niang'' 《柳青娘》<br /> *Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香<br /> *Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望<br /> *''National Music Ceremony'' 《国乐大典》<br /> <br /> ===Questions===<br /> <br /> 1. What kind of musical instrument does the ''guzheng'' belong to?<br /> <br /> 2. Why the ''guzheng'' is deeply loved by Chinese? <br /> <br /> 3. Who is Meng Tian? <br /> <br /> 4. According to the legend, how did the ''se'' develop into the ''zheng''?<br /> <br /> 5. How many strings does the ''guzheng'' have? How long is the guzheng?<br /> <br /> 6. What is the function of movable bridges?<br /> <br /> 7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? <br /> <br /> 8. In ancient times, what materials were the fingerpicks made of?<br /> <br /> 9. Generally speaking, how does the players strike notes? <br /> <br /> 10. What styles can ''guzheng'' be divided into?<br /> <br /> 11. Which school does ''The Autumn Moon in the Han Palace'' belong to? <br /> <br /> 12. Do you know any other ''guzheng'' music? Please list some pieces.<br /> <br /> ===Answers===<br /> <br /> 1. It belongs to plucked stringed instruments.<br /> <br /> 2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. <br /> <br /> 3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.<br /> <br /> 4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. <br /> <br /> 5. It usually has 21 strings and is 163 centimeters long. <br /> <br /> 6. They are moved to change the timbres.<br /> <br /> 7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.<br /> <br /> 8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.<br /> <br /> 9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. <br /> <br /> 10. The Northern school and the Southern school.<br /> <br /> 11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.<br /> <br /> 12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).<br /> <br /> ==Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581==<br /> ===Facial makeup===<br /> <br /> Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)<br /> <br /> People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)<br /> <br /> The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)<br /> <br /> Red<br /> <br /> Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.<br /> <br /> Black<br /> <br /> Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.<br /> <br /> White<br /> <br /> White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.<br /> <br /> Blue<br /> <br /> Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.<br /> <br /> Purple<br /> <br /> Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.<br /> <br /> Golden<br /> <br /> Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).<br /> <br /> The features of facial makeup are mainly as follows:<br /> First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.<br /> It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.(Cao Juan, 2019, 61)<br /> <br /> ===B. Terms and Expressions===<br /> <br /> painted face 花脸<br /> <br /> clown 丑角<br /> <br /> Sheng 生<br /> <br /> Dan 旦<br /> <br /> Jing 净<br /> <br /> Chou 丑<br /> <br /> Qingyi 青衣<br /> <br /> xiaosheng 小生<br /> <br /> laosheng 老生<br /> <br /> wusheng 武生<br /> <br /> Gao Changgong 高长恭<br /> <br /> legend，romance 传奇剧<br /> <br /> Erlang Shen, Erlang 二郎神<br /> <br /> Tathagata, Buddha 如来佛<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Water Margin of the Marsh 水浒传<br /> <br /> ===C. Questions===<br /> <br /> 1.How many types are character roles divided into in Beijing opera?<br /> <br /> 2.What are the differences bbetween Sheng and Dan?<br /> <br /> 3.What are the special features of Chou?<br /> <br /> 4.What is the function of facial mask in Beijing opera?<br /> <br /> 5.What are the main features of facial makeup?<br /> <br /> 6.What are the characteristics of characters wearing blue facial makeup?<br /> ===Answers===<br /> 1.Four types:Sheng, Dan, Jing and Chou.<br /> <br /> 2.Sheng refers to male roles while Dan refers to female roles.<br /> <br /> 3.A patch of white powder is wiped on their nose.<br /> <br /> 4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. <br /> <br /> 5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.<br /> <br /> 6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly<br /> <br /> ===References===<br /> <br /> He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.<br /> <br /> Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.<br /> <br /> Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.<br /> <br /> ==Literature, Science Fiction and Fantasy - Dashkin, Gennadii - Student No.201911080001==<br /> === Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===<br /> <br /> <br /> Nowadays, modern literature is one of most interesting and gorgeous side of the worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that modern generation in the whole world prefer to read something about the future. Something, that can help to understand of what will be next. And that is why, one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broads our mind horizons.<br /> <br /> ====1.Liu Cixin（刘慈欣）====<br /> <br /> <br /> Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976).(Alexandra Alter,How Chinese Sci-Fi Conquered America 2019, 1)<br /> <br /> Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. <br /> <br /> Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written and naive and decided that he did not deserve publication.However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &quot;Supernova Era&quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence.(Liu Cixin, Supernova Era 2019,352)<br /> <br /> Liu's first books were warmly received in China, but nevertheless real success came to the author only in 2006, when he published the first part of his trilogy &quot;Memory of the Earth's Past&quot; - the novel &quot;The Problem of Three Bodies&quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &quot;The Three-Body Problem,&quot; although this is not formally true.<br /> <br /> In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.<br /> <br /> Liu Cixin is definitely a unique writer, with his own style, philosophy and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics, but also to science fiction literature.<br /> <br /> ====2.Chen Qiufan (陈楸帆） ====<br /> <br /> <br /> Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.<br /> <br /> Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.<br /> <br /> His debut book was ''The Empty Wave'', &quot;combining realism and allegory to represent the hybridity of humans and machines.&quot; Chen Qiufan's novels and stories won three Galaxy Awards, and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish and Russian.<br /> <br /> His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of the humanity progress.<br /> <br /> ====3.Rebecca F. Kuang (匡蘦秀)====<br /> <br /> <br /> When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.<br /> <br /> Quang grew up in Dallas, Texas and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.<br /> <br /> Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.<br /> <br /> Her debut novel, The Opium War, is a war fantasy set inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological and philosophical realities of China of the chosen era.<br /> <br /> ===Terms and Expressions===<br /> <br /> 1. Science fiction - 科幻<br /> <br /> 2. Fantasy - 奇幻<br /> <br /> 3. Horizon - 地平线<br /> <br /> 4. Broad - 拓宽<br /> <br /> 5. Hybrid - 杂种<br /> <br /> 6. The plot - 情节<br /> <br /> 7. Garbage - 垃圾堆<br /> <br /> 8. Heyday - 壮年<br /> <br /> 9. Supernova - 超新星<br /> <br /> ===Questions===<br /> <br /> 1. What was the first book written by Liu Cixin?<br /> <br /> 2. What is the most popular trilogy of books written by Liu Cixin?<br /> <br /> 3. Who is called as Chinese William Gibson?<br /> <br /> 4. What is Rebecca Quang's Opium War plot based on?<br /> <br /> ===Answers===<br /> <br /> 1. Supernova Era<br /> <br /> 2. Memory of the Earth's Past<br /> <br /> 3. Chen Qiufan (陈楸帆）<br /> <br /> 4. The plot is largely based on the history of China in the middle of the 20th century.<br /> <br /> ===References===<br /> <br /> 1. Alexandra Alter,How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html<br /> <br /> 2. Liu Cixin, Supernova Era, 2019. 352 pp.<br /> <br /> 3. Chen Qiufan, Waste Tide, 2019. 342 pp.<br /> <br /> 4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.<br /> <br /> ==Stilts - Chen Yongxiang 陈永相 英语笔译 202070080582==<br /> [[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;fm=26&amp;gp=0.jpg] for original source.]]<br /> <br /> ===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===<br /> <br /> &lt;center&gt;Chen Yongxiang 陈永相 英语笔译 202070080582&lt;/center&gt;<br /> <br /> ====Introduction====<br /> <br /> Stilt is one of the folk dances of the Han nationality in our country, which is called &quot;Stilt Yangko&quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.<br /> <br /> As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &quot;Tongle Gaojiaohui&quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.<br /> <br /> The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who hold the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.<br /> <br /> Miliangtun Village Stilts as a renowned fair, known as the features of risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.<br /> <br /> There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilts is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.<br /> <br /> ====Terms and Expressions====<br /> <br /> Miliangtun (village name) 米粮屯<br /> <br /> stilts 高跷<br /> <br /> intangible cultural heritage 非物质文化遗产<br /> <br /> folk dance 民间舞蹈<br /> <br /> Toutou 陀头<br /> <br /> Laozuozi 老坐子 <br /> <br /> young boy 小二哥<br /> <br /> young master 公子<br /> <br /> Mr.Plaster 药先生<br /> <br /> Choupo 丑婆<br /> <br /> fisherman渔翁<br /> <br /> Yupo 渔婆 <br /> <br /> wood-cutter 柴翁<br /> <br /> handsome and ugly drum-players 俊鼓和丑鼓<br /> <br /> handsome and ugly gong-players 俊锣和丑锣<br /> <br /> ====Questions====<br /> <br /> 1. Where does Miliangtun Village Stilts originate?<br /> <br /> 2. How many years of history does Miliangtun Village Stilts have?<br /> <br /> 3. How many roles in Miliangtun Village Stilts?<br /> <br /> 4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?<br /> <br /> 5. How long is the shortest and the longest stilts?<br /> <br /> ====Answers====<br /> <br /> 1. Wangzuo Town, Fengtai District, Beijing.<br /> <br /> 2. More than 250 years.<br /> <br /> 3. 13.<br /> <br /> 4. In 2006.<br /> <br /> 5. The shortest stilt is two feet long, and the longest reaches over five feet.<br /> <br /> ====References====<br /> <br /> Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.<br /> <br /> Sun Miao 孙淼. (2018). &quot;一跷多艺&quot;: 胜芳高跷会的舞体表征与比较研究. [&quot;Multi-skills with one stilt&quot;: A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.<br /> <br /> https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin<br /> <br /> https://baijiahao.baidu.com/s?id=1643344511003907548&amp;wfr=spider&amp;for=pc<br /> <br /> <br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)<br /> <br /> ==Chinese Lion Dancing - Ding Daifeng 丁代凤==<br /> <br /> ===Introduction===<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)<br /> <br /> Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.<br /> <br /> When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)<br /> <br /> There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)<br /> <br /> <br /> In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)<br /> <br /> ===Northern lion dancing===<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)<br /> <br /> The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)<br /> <br /> ===Southern lion dancing===<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)<br /> <br /> Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &quot;Liu Bei lion&quot;, &quot;Guan Gong lion&quot; and &quot;Zhang Fei lion&quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)<br /> <br /> Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)<br /> <br /> In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)<br /> <br /> ===Terms and Expressions===<br /> <br /> Western Regions 西域<br /> <br /> mount 坐骑<br /> <br /> Manjusri Bodhisattva 文殊菩萨<br /> <br /> gong 锣<br /> <br /> northern lion dancing 南狮<br /> <br /> southern lion dancing 北狮<br /> <br /> colorful silk ball 绣球<br /> <br /> wooden stakes 木桩<br /> <br /> spiritual resemblance神似<br /> <br /> Liu Bei lion 刘备狮<br /> <br /> Guan Gong lion 关公狮<br /> <br /> Zhang Fei lion 张飞狮<br /> <br /> sworn brothers 结义兄弟<br /> <br /> horse stances 马步<br /> <br /> Cai Qing 采青<br /> <br /> lettuces 生菜<br /> <br /> ===Questions===<br /> <br /> 1. How long is the history of lion dance in China?<br /> <br /> 2. Why did people gradually accept lion as a sacred animal?<br /> <br /> 3. Why did people use lion dance to celebrate the New Year?<br /> <br /> 4. What is the main difference between southern lion dancing and northern lion dancing?<br /> <br /> 5. What is the center of southern lion dancing?<br /> <br /> 6. How many colors are there in the heads of southern lions? And what are they?<br /> <br /> 7. What is “Cai Qing”? And what do you know about “Cai Qing”?<br /> <br /> ===Answers===<br /> <br /> 1. It is with a history of about 2000 years.<br /> <br /> 2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.<br /> <br /> 3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &quot;lion&quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.<br /> <br /> 4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.<br /> <br /> 5. It is in southern China’s Guangdong province.<br /> <br /> 6. The head of southern lion has three colors, namely black, red and yellow.<br /> <br /> 7. It means &quot;plucking the greens&quot;, which is the most common step in the performance of the southern lion dancing. It is said that &quot;Cai Qing&quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &quot;vigorous&quot;, which means that the business is booming.<br /> <br /> ===References===<br /> <br /> Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.<br /> <br /> Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.<br /> <br /> Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.<br /> <br /> Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.<br /> <br /> ==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==<br /> ===A. The Eight Tang-Song Prose Masters===<br /> [[File:Tang Song Ba Da Jia.jpg]]<br /> <br /> ===Brief Introduction of The Eight Tang-Song Prose Masters===<br /> <br /> The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &quot;Ancient Prose Movement&quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25） <br /> In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)<br /> <br /> '''1. Han Yu'''<br /> [[File:Han Yu.jpg]]<br /> <br /> Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)<br /> Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)<br /> <br /> '''2. Liu Zongyuan'''<br /> [[File:Liu Zongyuan.jpg]]<br /> <br /> Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &quot;Liu Hedong &quot;, &quot; Mr. Hedong &quot;, also known as&quot; Liu Liuzhou &quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor .<br /> He was juxtaposed with Han Yu as &quot;Han Liu &quot;, with Liu Yuxi as &quot; Liu Liu &quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &quot;Wang Meng Wei Liu &quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &quot;Liu He Dong Colloection&quot; was one of his representatives. (Zhou Zhenfu 2016, 26)<br /> He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)<br /> <br /> '''3. Ouyang Xiu'''<br /> [[File:Ouyang Xiu.jpg]]<br /> <br /> Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.<br /> Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.<br /> Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)<br /> <br /> '''4. Su Xun'''<br /> [[File:Su Xun.jpg]]<br /> <br /> Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.<br /> Su Xun was a man of political ambition. He said that the main purpose of his works was &quot;to speak for the world &quot;, to&quot; apply to the present &quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)<br /> <br /> '''5. Su Shi'''<br /> [[File:Su Shi.jpg]]<br /> <br /> Su Shi, with a fame as &quot; Dongpo Jushi &quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .<br /> Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &quot;Han Chao Su hai&quot; with Han Yu in the prose area, &quot;Ou Su&quot; with Ouyang Xiu, &quot;Su Huang&quot; with Huang Tingjian, and &quot;Su Xin&quot; with Xin Qiji in the Ci area, so he was called &quot;the first all-round talent in ancient China&quot;.(Zhou Zhenfu 2016, 28)<br /> Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &quot;creating for certain purposes&quot;, advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.<br /> <br /> '''6. Su Zhe'''<br /> [[File:Su Zhe.jpg]]<br /> <br /> Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch.<br /> Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &quot;literary style&quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &quot;Ode to Ink bamboo&quot;.(Zhou Zhenfu 2016, 29)<br /> <br /> '''7. Wang Anshi'''<br /> [[File:Wang Anshi.jpg]]<br /> <br /> Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .<br /> Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)<br /> <br /> '''8. Zeng Gong'''<br /> [[File:Zeng Gong.jpg]]<br /> <br /> Zeng Gong was known as &quot;Mr. Nan Feng&quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &quot;eight masters&quot; of the Tang and Song Dynasties, he was also one of the &quot;Seven Zengs of Nanfeng&quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.<br /> <br /> '''9. Comparison between the Ancient Prose Movement and Renaissance'''<br /> Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)<br /> <br /> Comparison in ideology:<br /> The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.<br /> <br /> Comparison in writing style:<br /> The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)<br /> <br /> Comparison in literary form:<br /> The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&quot; Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)<br /> <br /> ===B. Terms and Expressions===<br /> The Eight Tang-Song Prose Masters 唐宋八大家<br /> <br /> Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》<br /> <br /> Ancient Prose Movement 古文运动<br /> <br /> parallel prose 骈文<br /> <br /> The Decline of Eight Generations 文起八代之衰<br /> <br /> The Article Giant 文章巨公<br /> <br /> Admired Literate of One Hundred Generations 百代文宗<br /> <br /> Han Changli Collection 《韩昌黎集》<br /> <br /> External collection 《外集》<br /> <br /> The Teacher's Theory《师说》<br /> <br /> Pre-Qin and Han Dynasties 先秦两汉时期<br /> <br /> writing in classical Chinese 文言文<br /> <br /> feudal provincial of Liuzhou 柳州刺史<br /> <br /> official supervisor of imperial censor 监察御史<br /> <br /> Liu He Dong Colloection 《柳河东集》<br /> <br /> Northern Song Dynasty 北宋<br /> <br /> a thousand volumes of collections of inscriptions 金石遗文一千卷<br /> <br /> Xia, Shang, Zhou Dynasties 三代<br /> <br /> the crown of that time 一时之冠<br /> <br /> Southern Tang Dynasty 南唐<br /> <br /> Yu Feng 余风<br /> <br /> The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》<br /> <br /> the Northern Song Dynasty poetry innovation movement北宋诗文革新运动<br /> <br /> Heng Lun 《衡论》<br /> <br /> Duke Jingguo 荆国公<br /> <br /> The Book to the Emperor 《上皇帝书》<br /> <br /> Dongpo Jushi 东坡居士<br /> <br /> Ci writer 词人<br /> <br /> Unconstrained Ci School豪放派<br /> <br /> literary and artistic attainments 文学艺术造诣<br /> <br /> the first all-round talent in ancient China 中国古代第一全才<br /> <br /> Su Men Four bachelors 苏门四学士<br /> <br /> the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》<br /> <br /> The New Theory《新论》<br /> <br /> On the Six Kingdoms 《六国论》<br /> <br /> Ode 赋<br /> <br /> The Ode to Ink bamboo 《墨竹赋》<br /> <br /> Seven Zengs of Nanfeng 南丰七曾<br /> <br /> the doctrine before the text先道后文<br /> <br /> the Book to Ouyang She Ren 《上欧阳舍人书》<br /> <br /> the Book to Bachelor Cai 《上蔡学士书》<br /> <br /> the Six Dynasties 六朝<br /> <br /> ===C. Questions===<br /> 1.Who are the pioneers of the Ancient Prose Movement?<br /> <br /> 2.Which kind of prose they advocate in the Ancient Prose Movement?<br /> <br /> 3.Do you know any representatives of Liu Zongyuan?<br /> <br /> 4.Why Ouyang Xiu is called &quot;Liu Yi Scholar&quot;?<br /> <br /> 5.What’s the relationship among Su Xun, Su Shi and Su Zhe?<br /> <br /> 6.Who are the &quot;Seven Zengs of Nanfeng&quot;?<br /> <br /> 7.Do you know any about the Renaissance?<br /> <br /> ===D. Answers===<br /> <br /> 1.Han Yu and Liu Zongyuan.<br /> <br /> 2.The prose of Pre-Qin and Han Dynasties.<br /> <br /> 3.The &quot;Liu He Dong Colloection&quot;.<br /> <br /> 4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.<br /> <br /> 5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.<br /> <br /> 6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> <br /> 7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.<br /> <br /> ===References===<br /> Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.<br /> <br /> Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.<br /> <br /> He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.<br /> <br /> Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.<br /> <br /> Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).<br /> <br /> Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).<br /> <br /> Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.<br /> <br /> Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.<br /> <br /> ==Music, Instruments, Pipa - Gao Mingzhu 高明珠==<br /> [Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu<br /> <br /> '''1. A Brief Introduction'''<br /> <br /> Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&quot; and &quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)<br /> <br /> '''2.The Development of Pipa'''<br /> <br /> The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)<br /> <br /> During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one kind playing skill in playing pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16) <br /> <br /> There was only one kind playing skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from small to popular. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> <br /> During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)<br /> <br /> '''3.Pipa Schools and Their Chracteristics'''<br /> <br /> The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)<br /> <br /> (1)The Wuxi school<br /> <br /> The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)<br /> <br /> (2)The Pinghu school<br /> <br /> The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as &quot; paired butterfly flying&quot; .(Deng Sijia 2020,10)<br /> <br /> (3)The Pudong School <br /> <br /> Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)<br /> <br /> (4)The Chongming school<br /> <br /> The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)<br /> <br /> (5)The Shanghai school<br /> <br /> This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)<br /> <br /> '''4.Traditional Pipa Music'''<br /> <br /> Traditional pipa music can be divided into military songs, literary songs and military-literary songs.<br /> <br /> Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are &quot;Ambush on All Sides&quot;, &quot;Bury Me High&quot;, &quot;Hai Qing Hunting the Swan&quot;, &quot;General Order in the Han Dynasty&quot;. [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)<br /> <br /> Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; and so on.<br /> <br /> Military-literary song is the combination of martial song and literary song. The representative songs are &quot;The Spring Snow&quot;, &quot;High Mountain and Flowing Water&quot;, &quot;Dragon Boat&quot;, &quot;Flute and Drum at Sunset&quot; and so on.<br /> <br /> '''5.Refferences''' [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> [1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020<br /> <br /> [2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.<br /> <br /> [3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.<br /> <br /> [4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.<br /> <br /> [Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)<br /> <br /> '''6.Terms and Expressions'''<br /> <br /> 弹拨乐器—plucked instruments<br /> <br /> 汉化—Chinesization<br /> <br /> 套曲—divertimentoes<br /> <br /> 游牧民族—nomad tribe<br /> <br /> 宫廷乐—court music<br /> <br /> 轮指法—tremolo<br /> <br /> 音色—timbre<br /> <br /> 曲目—repertoire<br /> <br /> 并弦—parallel string<br /> <br /> 指法—fingering techniques<br /> <br /> '''7.Questions'''<br /> <br /> 1、How many stages did pipa go through during its development?<br /> <br /> 2、What characteristics did pipa have during Wei and Jin dynasties?<br /> <br /> 3、What changes had been made to pipa during Ming and Qing dynasties?<br /> <br /> 4、How many schools does pipa have and what are they?<br /> <br /> 5、Can you list at least 3 representative repertoires of literary songs played by pipa? <br /> <br /> '''8.Answers'''<br /> <br /> 1、Four.<br /> <br /> 2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.<br /> <br /> 3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. <br /> <br /> 4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school. <br /> <br /> 5、&quot;Flute and Drum at Sunset&quot;, &quot;Zhao Jun Going Abroad&quot;, &quot;Autumn Moon over Han Palace&quot;, &quot;The Lofty Moon&quot;, &quot;The Green Lotus&quot;, &quot;Whisper from Pipa&quot;, &quot;Frontier Songs&quot; .<br /> <br /> [Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)<br /> ===Terms and Expressions===<br /> ===xxx===<br /> <br /> ==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001== Major.................<br /> === Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === <br /> <br /> The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?<br /> <br /> '''1. Huli-jing (狐狸精) in China'''<br /> <br /> First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.<br /> <br /> People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.<br /> <br /> Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.<br /> <br /> The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.<br /> <br /> Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.<br /> A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &quot;Good Hunt&quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.<br /> <br /> In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &quot;Painted Skin (畫皮)&quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.<br /> <br /> In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.<br /> <br /> Quite a lot of information about werewolf foxes can be obtained from the TV series &quot;The Legend of the Nine-Tailed Fox&quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.<br /> <br /> Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.<br /> <br /> The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.<br /> <br /> '''2. Kitsune (キツネ) in Japan''' <br /> <br /> In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&quot;Fox-messenger&quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.<br /> <br /> Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.<br /> <br /> Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.<br /> <br /> A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. <br /> <br /> '''3. Kumiho (구미호) in Korea'''<br /> <br /> Kumiho - (구 &quot;ku&quot; - nine, 미 &quot;mi&quot; - tail, 호 &quot;ho&quot; - fox - &quot;fox with nine tails&quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.<br /> <br /> In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> Shape shifter – 成精<br /> <br /> Creature –生物<br /> <br /> Seductive –诱人的<br /> <br /> Damnation –诅咒<br /> <br /> Metaphor –隐喻<br /> <br /> Ascribe –属性<br /> <br /> Indigenous –土着<br /> <br /> Deity – 反面人物<br /> <br /> Liver – 肝脏<br /> <br /> ===References===<br /> <br /> 1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.<br /> <br /> 2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.<br /> <br /> 3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.<br /> <br /> ===Questions===<br /> <br /> 1. What was the attitude towards the Huli Jing in Ancient China?<br /> <br /> 2. Can we characterize Kitsune as a positive or negative character?<br /> <br /> 3. Could Kumiho become human forever?<br /> <br /> ===Answers===<br /> <br /> 1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.<br /> <br /> 2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.<br /> <br /> 3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.<br /> References ..................<br /> <br /> ==Chinese Characters - Gu Dongfang 顾东方==<br /> Chinese Characters<br /> <br /> ===Origin===<br /> <br /> Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）<br /> <br /> ===Evolution of Chinese characters===<br /> [[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]<br /> Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)<br /> <br /> ===Ancient Chinese characters===<br /> <br /> ====Oracle bone script====<br /> <br /> Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).<br /> <br /> ====Bronze script====<br /> <br /> In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.<br /> <br /> ====Seal script====<br /> Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. <br /> The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.<br /> <br /> ===Modern characters===<br /> ====Clerical script====<br /> <br /> After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.<br /> From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.<br /> <br /> ====Regular script====<br /> <br /> Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.<br /> <br /> ===Formation of Chinese characters===<br /> <br /> ====Pictograms====<br /> <br /> Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &quot;sun,&quot; 月 (yuè) for &quot;moon,&quot; and 木 (mù) for &quot;tree.&quot;<br /> <br /> ====Pictophonetic compounds====<br /> <br /> Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.<br /> <br /> ====Ideograph ====<br /> <br /> Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &quot;knife,&quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &quot;blade.&quot; Other common examples are 上 (shàng) for &quot;up&quot; and 下 (xià) for &quot;down.&quot; This category is small, as most concepts can be represented by characters in other categories.<br /> <br /> ====Logical aggregates====<br /> <br /> Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light.<br /> <br /> ====Associate transformation====<br /> <br /> Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &quot;elderly person,&quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.<br /> <br /> ====Borrowing ====<br /> <br /> Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)<br /> <br /> ===Simplification of Chinese characters===<br /> <br /> The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)<br /> <br /> ===Terms and expressions===<br /> <br /> 1.Oracle Bone Inscriptions  甲骨文<br /> <br /> 2.Bronze Inscriptions 金文<br /> <br /> 3.Small seal characters 小篆<br /> <br /> 4.Official script 隶书<br /> <br /> 5.Regular script 楷书<br /> <br /> 6.Cursive writing 草书<br /> <br /> 7.Cang Jie 仓颉<br /> <br /> <br /> 8.Clerical script 楷书<br /> <br /> 9.Su Shi 苏轼<br /> <br /> 10. Wang Xizhi 王羲之<br /> <br /> 11.Ou Yangxun 欧阳询<br /> <br /> 12.Yan Zhenqing 颜真卿<br /> <br /> 13.Pictograms 象形<br /> <br /> 14. Pictophonetic compounds 指事<br /> <br /> 15.Ideograph 会意<br /> <br /> 16.Logical aggregates 形声<br /> <br /> 17.Associate transformation 转注<br /> <br /> 18.Borrowing 假借<br /> <br /> ===Question===<br /> 1.How many Chinese characters are there?<br /> <br /> 2.How many letters are in the Chinese alphabet?<br /> <br /> 3. How many formations of Chinese characters? What are they?<br /> <br /> ===Answers===<br /> 1. According to the latest statics, there are nearly 91251 Chinese characters recorded .<br /> <br /> 2. There are 26 letters in Chinese alphabet.<br /> <br /> 3. Six formations are included in Chinese characters system, and they are Pictograms<br /> Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing<br /> <br /> ===References===<br /> <br /> 1.王显春. 汉字的起源[M]. 学林出版社, 2002.<br /> <br /> 2.刘又辛. &quot;关于汉字发展史的几个问题(上).&quot; 语文建设 12(1998):34-37.<br /> <br /> 3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188<br /> <br /> 4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.<br /> <br /> ==Chinese Knots - Guan Qinqing 管钦清==<br /> <br /> ===A.Chinese Knots===<br /> <br /> ====1.A Brief Introduction about Chinese Knots====<br /> <br /> The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It <br /> <br /> originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.<br /> <br /> The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.<br /> <br /> The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and <br /> <br /> personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which <br /> <br /> earned the knot its name.<br /> <br /> ====2.The Classification of Chinese Knots====<br /> <br /> There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥<br /> <br /> 结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井<br /> <br /> 结）,Cross Knot(十字结） and Ping Knot（平结）.<br /> <br /> Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. <br /> <br /> =====2.1.The Double Coin Knot=====<br /> <br /> Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views <br /> <br /> on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only <br /> <br /> represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &quot;luck money&quot;. Therefore, for <br /> <br /> the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes <br /> <br /> &quot;good things come in pairs&quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful <br /> <br /> patterns, such as clouds and Perfect Knots，etc.<br /> <br /> =====2.2.The Good Luck Knot=====<br /> <br /> As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.<br /> <br /> And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.<br /> <br /> =====2.3.The Pan Chang Knot=====<br /> <br /> Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the <br /> <br /> avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is <br /> <br /> often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.<br /> <br /> ====3.The Knitting Method of Chinese Knots====<br /> <br /> The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.<br /> <br /> The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.<br /> <br /> ====4.The Cultural Connotations of Chinese Knots====<br /> <br /> Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of <br /> <br /> rope and thread.In Chinese， &quot;rope&quot; (绳）and &quot;god&quot; （神）are homophonic, so the Chinese nation has a worship of &quot;rope&quot;. In addition, Chinese people are descendants of <br /> <br /> dragons.Because the shape of &quot;rope&quot; is like a winding dragon, people also regard &quot;rope&quot; as a symbol of dragon. Chinese people also have their own unique understanding of <br /> <br /> &quot;knot&quot;, which means reunion and happiness. Many of the Chinese words composed of &quot;结&quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交<br /> <br /> （making friends), and 永结同心（tie the knot),etc. &quot;结&quot;(knot) is also homonymous with &quot;吉&quot;（ausipiciousness), so people even think that &quot;knot&quot; is a symbol of good luck.<br /> <br /> ====5.Comparisons between Chinese Knots and Cross Necklaces====<br /> <br /> =====5.1.Different Cultural Connotations=====<br /> <br /> From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of <br /> <br /> Christianity. The cross, derived from the Latin &quot;crux&quot;, means &quot;fork&quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient <br /> <br /> Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross <br /> <br /> ornaments in the west as cross necknaces are usually used to represent love and salvation.<br /> <br /> =====5.2.Different Shapes=====<br /> <br /> Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have <br /> <br /> different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.<br /> <br /> ====6.References====<br /> <br /> 李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.<br /> <br /> 李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.<br /> <br /> 许星.路论中国结[J].丝绸,2004(02) : 46-47.<br /> <br /> 邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.<br /> <br /> 王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.<br /> <br /> ===B. Terms and Expressions===<br /> <br /> Double Coin Knot 双钱结<br /> <br /> Good Luck Knot 吉祥结<br /> <br /> Chinese Button Knot 纽扣结<br /> <br /> Sauvastika Knot 万字结<br /> <br /> Oxalis Knot 酢浆草结<br /> <br /> Pan Chang Knot 盘长结<br /> <br /> Round Brocade Knot 团锦结<br /> <br /> Caisson Celling Knot 藻井结<br /> <br /> Cross Knot 十字结<br /> <br /> Ping Knot 平结<br /> <br /> tie the knot 永结同心<br /> <br /> luck money 压岁钱<br /> <br /> the bishop's identity 主教职权<br /> <br /> ===C. Questions===<br /> <br /> 1. What is the Chinese knot?<br /> <br /> 2. Do you know the names of the main Chinese knots? What are they?<br /> <br /> 3. What do &quot;绳&quot; and &quot;结&quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> ==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==<br /> <br /> [[File:Chinese Mythology.jpg|thumb|right|Panku]]<br /> <br /> ===Introduction===<br /> <br /> The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.<br /> <br /> ===A. Panku Created the World===<br /> <br /> In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).<br /> <br /> At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 &quot;li&quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).<br /> Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.<br /> <br /> ===B. NuWa Created Human Beings===<br /> <br /> [[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]<br /> <br /> Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).<br /> <br /> As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.<br /> <br /> During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.<br /> <br /> ===C. Fushi Taught the People=== <br /> <br /> In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .<br /> <br /> Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &quot;trigrams&quot;, in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This &quot;trigrams&quot; was also a mean to interpret future and consult oracle about the right ways to follow.<br /> <br /> Finally, Fushi gave his last gift (music) in order people can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &quot;pipa&quot; (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history. Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. <br /> <br /> ===D. Water War===<br /> <br /> Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as a very big giants with different shapes, Gong shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).<br /> <br /> Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).<br /> <br /> In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.<br /> <br /> ===E. Terms and Expressions===<br /> <br /> Chinese Mythology 中国神话<br /> <br /> Panku 盤古<br /> <br /> Yin/Yang 陰陽 / 阴阳<br /> <br /> Nuwa 女媧<br /> <br /> Fushi 伏羲<br /> <br /> Water War 水战<br /> <br /> ===F. Questions===<br /> <br /> 1. Why an egg a good symbol for the beginning of the world?<br /> <br /> 2. Why Nuwa decided to create human beings?<br /> <br /> 3. What did Fushi taught to people?<br /> <br /> 4. What was the cause of Gong and Zurong’s war and who won?<br /> <br /> ===G. Answers===<br /> <br /> 1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.<br /> <br /> 2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.<br /> <br /> 3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.<br /> <br /> 4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.<br /> <br /> ===References===<br /> <br /> 1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.<br /> <br /> 2. Irene Dea Collier. (2001). &quot;Chinese Mythology&quot;. Library of Congress Cataloging-in-Publication Data.<br /> <br /> 3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg<br /> <br /> 4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)<br /> <br /> ==Gods and Immortals - Gui Yizhi 桂一枝==<br /> <br /> ===Chinese gods and immortals===<br /> <br /> ====Chinese mythology system====<br /> <br /> Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.<br /> <br /> Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.<br /> <br /> The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).<br /> <br /> Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &quot;Way&quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.<br /> <br /> At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &quot;most widely beloved Buddhist Divinity&quot; with miraculous powers to assist all those who pray to her.<br /> <br /> ====神 shén, 帝 dì and 仙 xiān====<br /> <br /> Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. dì, sometimes translated as &quot;thearch&quot;, implies a manifested or incarnate &quot;godly&quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.<br /> <br /> ====Eight immortals====<br /> <br /> The Eight Immortals are a group of legendary xian (&quot;immortals&quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &quot;Covert Eight Immortals&quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.<br /> <br /> The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism. <br /> <br /> The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &quot;The Eight Immortals cross the sea, each reveals its divine powers&quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.<br /> <br /> ===Terms and Expressions===<br /> <br /> immortals 仙 <br /> <br /> mythology 神话，神话学<br /> <br /> cosmology 宇宙论，宇宙观 <br /> <br /> monolithic 整体（式）的<br /> <br /> the Battle of Zhuolu 涿鹿之战<br /> <br /> pantheistic 泛神论的 <br /> <br /> polytheistic 多神论的<br /> <br /> Three Pure Ones 三清<br /> <br /> anthropomorphic 人格化的<br /> <br /> tutelary 守护神 <br /> <br /> deity 神<br /> <br /> Buddha 佛 <br /> <br /> Shakyamuni 释迦牟尼<br /> <br /> Amitabha 阿弥陀佛 <br /> <br /> Amitāyus 无量寿佛<br /> <br /> celestial 天的 <br /> <br /> Bodhisattva 菩萨 <br /> <br /> Pure Land 极乐世界 <br /> <br /> vessels 法器<br /> <br /> Covert Eight Immortals 暗八仙 <br /> <br /> Taoist 道家的，道士<br /> <br /> ===Questions===<br /> <br /> 1. What are the topics of the Ancient mythology?<br /> <br /> 2. What are the differences among shén, dì and xiān?<br /> <br /> 3. What do the Eight immortals represent respectively?<br /> <br /> ===Answers===<br /> 1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.<br /> <br /> 2. shén and dì corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> 3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.<br /> <br /> ===References===<br /> <br /> [1]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.pp11-12<br /> <br /> [2]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.pp.63-67 <br /> <br /> [3]柏杨．中国人史纲：时代文艺出版社，1987.pp. 34-40<br /> <br /> [4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear &amp; Company.pp.27-28 <br /> <br /> [5]Buddhism, the Fulfilment of Hinduism P37<br /> <br /> [6]胡亚楠. 从神到仙：先秦时期神仙信仰的形成因素研究[D].哈尔滨师范大学,2020.<br /> <br /> [7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.pp. 200-201<br /> <br /> [8]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [9]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50<br /> <br /> [10]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago. pp. 313, 319–334.<br /> <br /> ==Literature, Tang and Song - Guo Lu 郭露 202070080588==<br /> <br /> ===Classical Prose Movement of late Tang Dynasty and Song Dynasty===<br /> <br /> ====Introduction====<br /> <br /> “The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its deep.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)<br /> <br /> ====Development====<br /> <br /> The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)<br /> <br /> However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)<br /> <br /> After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) <br /> <br /> ====Representatives====<br /> <br /> '''1.Han Yu'''<br /> <br /> Han Yu (768 – 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &quot;Eight Great Prose Masters of the Tang and Song&quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)<br /> <br /> Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)<br /> <br /> '''2.Liu Zongyuan'''<br /> <br /> Liu Zongyuan (773 – 819), courtesy name Zihou, also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese literature, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &quot;Jiangxue&quot;. (Yang Shengli 2020, 42-44)<br /> <br /> '''3.Ouyang Xiu'''<br /> <br /> Ouyang Xiu (1007 – 1072), courtesy name Yong Shu, also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)<br /> <br /> Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)<br /> <br /> Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)<br /> <br /> ====Masterworks====<br /> <br /> Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)<br /> <br /> ====Influence====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)<br /> <br /> ====Terms and Expressions====<br /> <br /> The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家<br /> <br /> Classical Prose Movement 古文运动<br /> <br /> ''Eight Records of Excursions in Yongzhou'' 《永州八记》<br /> <br /> ''On Teachers'' 《师说》<br /> <br /> ''New Book of Tang'' 《新唐书》<br /> <br /> ''Historical Records of the Five Dynasties'' 《新五代史》<br /> <br /> ''Zuiweng Tingji'' 《醉翁亭记》<br /> <br /> ''Shang Zhongyong'' 《伤仲永》<br /> <br /> ''On Jia Yi'' 《贾谊论》<br /> <br /> ''First Ode to the Red Cliff'' 《赤壁赋》<br /> <br /> ====Questions====<br /> <br /> 1. Who were the first promoters of the Classical Prose Movement?<br /> <br /> 2. What does the Classical Prose Movement mean?<br /> <br /> 3. What's political and religious purposes of the Classical Prose Movement?<br /> <br /> ====Answers====<br /> <br /> 1. The first promoters of this movement were Han Yu and Liu Zongyuan.<br /> <br /> 2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.<br /> <br /> 3. The reason what Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.<br /> <br /> ====References====<br /> <br /> Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.<br /> <br /> Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.<br /> <br /> Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.<br /> <br /> Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.<br /> <br /> Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.<br /> <br /> Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.<br /> <br /> Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.<br /> <br /> ==The tradition of Red envelope and Lucky money - Ha, Thi Thu Hang - 201921080008==<br /> <br /> ===The Chinese Red Envelope and Lucky money tradition===<br /> <br /> In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.<br /> <br /> ====The Legend====<br /> <br /> In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> <br /> One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> There are also other legends about this custom related to the son Duong Quy Phi of the Tang dynasty - China and the Qin dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.<br /> <br /> ====The tradition====<br /> <br /> The Chinese custom of lucky money is called &quot;Hongbao&quot;. Chinese people really like red, so the lucky money is always red, symbolizing luck and happiness. The red envelope is called yasui qian (压岁钱 /Yāsuìqián/), which means &quot;suppressing ghosts money&quot;. Those who receive a red envelope are wished another safe and pea Sending red envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese lucky money must avoid the number 4 and be sealed. The children, after receiving the lucky money, do not open it immediately, but have to put it all under the pillow after about a week to open it, it is impolite to open a red envelope in front of the person who gives it to you. The meaning of this is for the lucky money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese lucky money.<br /> <br /> Red envelopes, also called red packets, lucky money, or &quot;hongbao&quot; in Chinese, &quot;li shi&quot; / &quot;li xi&quot; in Vietnamese are a popular monetary gift given on some important occasions or festivals in China, Vietnam, Korea, Japan, some other Asian countries, especially widely seen during the Chinese New Year (Spring Festival). During Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into.<br /> <br /> ====Outside of China====<br /> <br /> The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent.<br /> <br /> Each country has different ways of lucky money and changes over time, but the basic custom of lucky money is to want to send wishes of peace to all relatives and friends in the new year.<br /> In Vietnam, the Lunar New Year is one of the great holidays of the year. The traditional New Year's customs are still preserved, in which the lucky money is typical. On the first day of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give lucky money to the children with the message of good luck, good care and good study. Today, the tradition of lucky money in Vietnam is also expanded in the direction that children give lucky money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.<br /> <br /> In Japan, lucky money is called Otoshidama. Unlike other countries, the amount of Japanese lucky money depends on the child's age, the relationship of the family. Otoshidama red envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese red envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the lucky money will be written on the red envelope to show respect for the recipient. The message of each Otoshidama red envelopes is a wish for a warm, peaceful and lucky new year.<br /> <br /> In Korea, the lucky money is called Sabae. On New Year's Day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive lucky money together with wishes for health and peace in the new year. The lucky money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems...<br /> <br /> ===Terms and Expressions===<br /> Luckymoney 利市 /Lì shì/ <br /> <br /> Red envelope 紅包 /Hóngbāo/ <br /> <br /> Confucianism 儒教 /Rújiào/ <br /> <br /> Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/<br /> <br /> ===Questions===<br /> <br /> 1. Do you know the origin of giving Lunar new year lucky money to children？<br /> <br /> ===Answers===<br /> <br /> 1. In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).<br /> One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &quot;red paper wrapped copper money&quot; with a belief that the money will protect children from being harmed.<br /> <br /> ===References===<br /> https://en.wikipedia.org/wiki/Red_envelope [https://en.wikipedia.org/wiki/Red_envelope]<br /> <br /> ==Calendar, The 24 Solar Terms - He Changqi 何长琦==<br /> ==='''The Twenty-four Solar Terms'''===<br /> <br /> ===1. The orgin and development of the twenty-four solar terms===<br /> <br /> “The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）<br /> <br /> ===2. The definition and classification of the twenty-four solar terms===<br /> <br /> “The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. <br /> A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate. The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.<br /> (Yuan Jixi 2016:)<br /> <br /> ===3.Folklore of the 24 solar terms===<br /> <br /> The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the &quot;whipping of the spring bull&quot; at the beginning of spring and the &quot;tailing festival&quot; at the end of the cold season. Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &quot;the unity of heaven and man, in accordance with the four seasons&quot;, the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. <br /> <br /> These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &quot;biting the spring&quot; on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)<br /> <br /> ===4.Importance and values===<br /> <br /> ===4.1 Importance in ancient times===<br /> <br /> The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. The 24 solar terms have played an important role in the life and work of traditional Chinese people.<br /> Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that &quot;if the agricultural time is not violated, there will be sufficient grain supply.&quot; (Mencius - Liang Huiwang). Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives. For example, the &quot;Four Beginnings&quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)<br /> <br /> ===4.2 Values in modern society===<br /> <br /> In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation. It still has its practical values in modern society.<br /> Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture. Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature. Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)<br /> <br /> ===Terms and Expressions===<br /> <br /> the Beginning of Spring 立春<br /> <br /> Beginning of Autumn 立秋<br /> <br /> Rain Water 雨水 <br /> <br /> End of Heat 处暑<br /> <br /> Insects Awakening 惊蛰 <br /> <br /> White Dew 白露<br /> <br /> Spring Equinox 春分 <br /> <br /> Autumnal Equinox 秋分<br /> <br /> Fresh Green 清明 <br /> <br /> Cold Dew 寒露<br /> <br /> Grain Rain 谷雨 <br /> <br /> First Frost 霜降 <br /> <br /> Beginning of Summer 立夏 <br /> <br /> Beginning of Winter 立冬<br /> <br /> Lesser Fullness 小满 <br /> <br /> Light Snow 小雪<br /> <br /> Grain in Ear 芒种 <br /> <br /> Heavy Snow 大雪<br /> <br /> Summer Solstice 夏至<br /> <br /> Winter Solstice 冬至<br /> <br /> Lesser Heat 大暑<br /> <br /> Lesser Cold 小寒<br /> <br /> Greater Heat 立春 <br /> <br /> Greater Cold 大寒<br /> <br /> ===Questions===<br /> 1.1.What are the first four solar terms measured by ancient Chinese people?<br /> <br /> 2.Where does the 24 solar terms originate from?<br /> <br /> 3. What are the eight solar terms that reflect seasonal changes？<br /> <br /> 4.When was included in the World Intangible Cultural Heritage List? <br /> <br /> 5.What are the food customs in the Beginning of Spring?<br /> <br /> 6.Do you konw any other folklore of the 24 solar terms?<br /> ===Answers===<br /> 1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.<br /> <br /> 2.It originated in the Yellow River valley.<br /> <br /> 3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice<br /> <br /> 4.In 2016.<br /> <br /> 5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.<br /> <br /> 6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the &quot;Sage of Medicine&quot;, invented the &quot;jiaozi&quot; to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as &quot;dumpling&quot; or jiaozi. Today there is still a saying that goes &quot;Eat dumplings on Start of Winter Day, or your ears will be frostbitten.&quot;<br /> <br /> ===References===<br /> Yuan Jix. 袁济喜. (2016). &quot;中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)<br /> <br /> Wang Jiahua. 王加华.（2019.9.20）&quot;China Social Science Network&quot; http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml<br /> <br /> Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）&quot;Chinanews&quot; http://www.chinanews.com/cul/2020/11-17/9340057.shtml <br /> <br /> He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html<br /> <br /> ==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==<br /> <br /> ===Collection of Yue Fu Poetry《乐府诗集》===<br /> <br /> ====Introduction====<br /> <br /> '''1.Brief introduction'''<br /> <br /> ''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. &quot;Yuefu&quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)<br /> <br /> '''2.About the author'''<br /> <br /> Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation.(Wu Ting 2007, 22)<br /> <br /> '''3.Content introduction'''<br /> <br /> It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &quot;Yuefu Poetry Collection&quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties.(Wu Ting 2007, 30)<br /> <br /> ====Masterpieces====<br /> <br /> '''1.''The Peacock Flies to Southeast'''''<br /> <br /> ''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit.As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed.(Wu Ting 2007, 36)<br /> <br /> '''2.''Mulan Poetry'''''<br /> <br /> ''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &quot;Mulan is a girl&quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)<br /> <br /> ====Evaluation====<br /> <br /> '''1.Contributions'''<br /> <br /> The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &quot;Moshangsang&quot;, &quot;dongmenxing&quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. Yuefu Poetry Collection introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)<br /> <br /> '''2.Shortcomings'''<br /> <br /> There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)<br /> <br /> ===References===<br /> Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)<br /> <br /> Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Collection of Yue Fu Poetry''《乐府诗集》<br /> <br /> Jiaomiao songs郊庙歌辞<br /> <br /> Yanshe songs燕射歌辞<br /> <br /> Guchui drum songs鼓吹曲辞<br /> <br /> Hengchui songs横吹曲辞<br /> <br /> Xianghe songs相和歌辞<br /> <br /> ''The Peacock Flies to Southeast'' 《孔雀东南飞》<br /> <br /> ''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)<br /> <br /> ===Questions===<br /> <br /> 1.When was Yuefu Poetry compiled？<br /> <br /> 2.Which institution did &quot;Yuefu&quot; belong to?<br /> <br /> 3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.In Song Dynasty.<br /> <br /> 2.It belongs to the institution in charge of music.<br /> <br /> 3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)<br /> <br /> ==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==<br /> <br /> ===Eight Major Cuisines of China===<br /> <br /> ====1. A Brief Introduction About Chinese Cuisine====<br /> As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &quot;four major cuisines.&quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &quot;eight major cuisines&quot; of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)<br /> <br /> ====2. The Classification of Chinese Cuisines====<br /> <br /> China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)<br /> <br /> =====2.1 Shandong Cuisine=====<br /> Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)<br /> =====2.2 Sichuan Cuisine=====<br /> Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one <br /> of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)<br /> =====2.3 Guangdong Cuisine=====<br /> Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)<br /> =====2.4 Fujian Cuisine=====<br /> Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &quot;pickled taste&quot;. (Shi Hongmei 2009, 55)<br /> =====2.5 Jiangsu Cuisine=====<br /> Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)<br /> =====2.6 Zhejiang Cuisine=====<br /> Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)<br /> =====2.7 Hunan Cuisine=====<br /> Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)<br /> =====2.8 Anhui Cuisine=====<br /> Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)<br /> <br /> ====3. A Comparison of Chinese-Western Diet Culture====<br /> <br /> Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)<br /> <br /> Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods.(Caihua 2009, 57)<br /> <br /> ====References====<br /> <br /> Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.<br /> <br /> Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.<br /> <br /> Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.<br /> <br /> Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．<br /> <br /> Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.<br /> <br /> ===Terms and Expressions===<br /> <br /> pot-stewed fowl 卤味<br /> <br /> stewing and simmering 炖，煨<br /> <br /> prickly ash 花椒<br /> <br /> fermented soybean 豆鼓<br /> <br /> Braised Dongpo Pork 东坡肉<br /> <br /> Buddha Jumps over the Wall 佛跳墙<br /> <br /> Kung Pao Chicken 宫保鸡丁<br /> <br /> Bean Sauce Tofu 麻婆豆腐<br /> <br /> ===Questions===<br /> 1. How many types of cuisines are there in china?<br /> <br /> 2. What’s differences between Chinese and western diets?<br /> <br /> 3. What is the origin of Dongpo Meat?<br /> <br /> ===Answers===<br /> 1. Eight<br /> <br /> 2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &quot;hard dishes&quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. <br /> <br /> 3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.<br /> <br /> ==Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting==<br /> <br /> Chinese Paper Cutting 剪纸<br /> <br /> ===Text===<br /> ===Introduction===<br /> The art of paper cutting in China may date back to the second century CE, since paper was invented by Cai Lunin the Eastern Han Dynasty in China. As paper became more affordable, paper-cutting became one of the most important types of Chinese folk art. Later, this art form spread to other parts of the world, with different regions adopting their own cultural styles. Because the cut-outs are often used to decorate doors and windows, they are sometimes referred to as chuanghua, window flowers or window paper-cuts. People glued the papercuts to the exterior of windows, so the light from the inside would shine through the negative space of the cutout.[1] Usually, the artworks are made of red paper, as red is associated with festivities and happiness in Chinese culture, but other colours were also used. Normally paper-cutting artwork is used on festivals like Spring Festival weddings and childbirth. Paper-cuting always symbolizes luck and happiness.<br /> <br /> ===History===<br /> The paper was invented in the Western Han Dynasty (6th century BC), before which there was no paper-cut art. However, at that time, people used thin-film materials to make handicrafts by hollowing out carving techniques, which had been popular since before paper appeared, that is, carving, carving, carving and cutting techniques were used to carve patterns on gold foil, leather, silk and even on leaves. In the historical records, the brother of the cutting Tung Tong describes the Zhou Dynasty king of the Western Zhou Dynasty who cut his &quot;Guiyu&quot; to his brother by using Wutong leaves and Feng Ji Yu to Tang as Hou. During the Warring States period, leather engraving (one of the cultural relics unearthed from No.1 Chu tomb in jianglingwangshan, Hubei Province) and silver foil hollowed out and engraved patterns (one of the cultural relics unearthed from the Warring States site in Guwei village, Huixian County, Henan Province) were used in the Warring States period. Their appearance laid a certain foundation for the formation of folk paper-cut. In the southern and Northern Dynasties, &quot;Mulan Ci&quot; has the poem &quot;yellow to the mirror&quot;. The earliest paper-cut work in China was found in the Northern Dynasty period (386-581 A.D.) unearthed near the Flame Mountain in Turpan, Xinjiang. These paper-cut, the use of repeated folding and image processing techniques.<br /> <br /> In the Ming and Qing Dynasties, the paper-cut handicraft became mature and reached its peak. Folk paper-cut handicrafts are more widely used, such as flower decorations on folk lanterns, patterns on fans, and embroidery patterns, etc., all of which are decorated with paper-cut for reprocessing [9]. What's more, Chinese people often use paper-cut as decoration to beautify the home environment. For example, door stacks, window decorations, cabinet flowers, flower lovers and ceiling flowers are used to decorate doors, windows and rooms.<br /> <br /> At the beginning of the 20th century, the &quot;May 4th&quot; New Culture Movement established the rudiment of Chinese folklore under the advocacy of advanced intellectuals Cai Yuanpei, Lu Xun, Liu Bannong and Zhou Zuoren. They widely collect folk literature materials, but also strive to collect folk art works, including folk paper-cut. In the 1930s, artist Chen Zhinong began the research and creation of folk paper-cut in Beijing. He used sketches and silhouettes to depict a large number of customs and customs in old Beijing, such as street vendors, workshop craftsmen, food stalls and tea picking, markets, temple fairs, and market idlers.<br /> <br /> ===Five Regions===<br /> <br /> <br /> ===Techniques===<br /> ===References===<br /> <br /> ===Terms and Expressions===<br /> <br /> ===Questions===<br /> <br /> ===Answers===<br /> <br /> ==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==<br /> <br /> ===The Chinese Medical Sage - Zhang Zhongjing===<br /> <br /> Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)<br /> <br /> Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)<br /> <br /> This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)<br /> <br /> Later, people called the doctor who sat in the drugstore to treat patients &quot;the doctor sitting in the hall&quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)<br /> <br /> When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)<br /> <br /> There is a Chinese saying that goes, &quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)<br /> <br /> When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)<br /> <br /> Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &quot; Cold Dispelling Jiaoer Soup&quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)<br /> <br /> Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &quot;Cold Dispelling Jiaoer Soup&quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &quot;Cold Dispelling Jiaoer Soup&quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)<br /> <br /> In fact, the way of making &quot;Cold Dispelling Jiaoer Soup&quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &quot;Jiao Er&quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&quot; (首都医药 2003, 40)<br /> <br /> At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)<br /> <br /> <br /> [[File:Zhang_Zhongjing.jpg]]<br /> <br /> ===References===<br /> <br /> 2003(17). 张仲景故乡的二十四个故事(六) 饺子的来历[J]. 首都医药.<br /> <br /> Zhang Maoyun 张茂云. 2014(04). 伤寒杂病论成书年代及仲景生平年代考历[J]. 中国中医药现代远程教育.<br /> <br /> Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. 2013(07). “医圣”张仲景[J]. 中国卫生人才.<br /> <br /> Zhang Deli 张德礼. 2019(05). 心系百姓的“医圣”张仲景[J]. 现代班组.<br /> <br /> Tan Rongzhou 覃荣周. 2013(07). 张仲景对我国医学发展的历史贡献[J]. 兰台世界.<br /> <br /> Zhao Qingxin 赵清新. 1999(05). 万世医宗张仲景[J]. 解放军健康.<br /> <br /> 2020(03). 张仲景:“医圣”之名传天下[J]. 天一. 月读.<br /> <br /> ===Terms and Expressions===<br /> <br /> medical sage 医圣<br /> <br /> Treatise on Febrile and Miscellaneous Diseases《伤寒杂病论》<br /> <br /> treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治<br /> <br /> yamen 衙门<br /> <br /> Great Cold ( 24th solar term ) 大寒<br /> <br /> Slight Cold ( 23rd solar term ) 小寒<br /> <br /> look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切<br /> <br /> Cold Dispelling Jiaoer Soup 祛寒娇耳汤<br /> <br /> ===Questions===<br /> <br /> 1. What's the honorable title Zhang Zhongjing addressed as?<br /> <br /> 2. What's the official role Zhang once taken?<br /> <br /> 3. When would Zhang treat patients for free at yamen?<br /> <br /> 4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?<br /> <br /> 5. What's the relationship between Zhang Zhongjing and dumplings?<br /> <br /> ===Answers===<br /> <br /> 1. Chinese Medical Sage.<br /> <br /> 2. Changsha magistrate.<br /> <br /> 3. He treated patients for free on the first and fifteenth days of every lunar month.<br /> <br /> 4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.<br /> <br /> 5. Dumplings are derived from the recipe &quot; Cold Dispelling Jiaoer Soup&quot; developed by Zhang Zhongjing.<br /> <br /> --[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)<br /> <br /> ==Architecture, Qingming Riverside Landscape Garden-Zeng Liang 曾良 （major）202070080578==<br /> <br /> ===Introduction===<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, and covering an area of more than 600 acres, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the Northern Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)<br /> <br /> [[File:Qingming]]Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park covering an area of more than 600 acresand showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the earlier Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and also, the first batch of 5A-level tourist attractions and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)(文件无效)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng as the capital of the Northern Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, People can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)<br /> <br /> The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng, the capital of the earlier Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, people can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> There are eight functional zones including posthouse, folk custom, characteristic food street, demonstration of culture in Song Dynasty, flower, bird, fish, bug, prosperous capital, leisure and shopping, and integrated service, and four cultural zones including military drill ground, Rainbow Bridge, folk custom, and capital of Song Dynasty. The main architechtures of the garden include gate building, rainbow bridge, street view, stores, river channels, wharfs and ships. According to the original layout of ''Riverside Scene at Qingming Festival'', the garden presents the fabrications on site such as wine shops, teahouses, pawnshops, Bian (today’s Kaifeng) embroideries, official porcelains, and New Year paintings, gathers folk performance, vaudeville, and drum performance. (Gao Jing 2010,18)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050, and it was reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The Fuyun Pavillion is 31.99 meters high and it is the tallest building in the garden. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)<br /> <br /> The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050 and reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The tallest building in the garden, the Fuyun Pavillion is 31.99 meters high. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)<br /> <br /> Every year, Qingming Riverside Landscape Garden will hold a series of cultural festivals, such as folk cultural festival of Song Dynasty, Qingming cultural festival, and chrysanthemum cultural festival. During the folk cultural festival of Song Dynasty, the scenic spot will gather unique folk performances across the country, such as flower-drum on the high platform, stilt, dragon dance, lion dance, small Henan opera. The international lantern exhibition is the highlight of folk cultural festival of Song Dynasty. A visual feast will be brought by auspicious tradition of Chinese Pavilion, the fresheness and refineness of Asian Pavilion, simplicity and fashion of European Pavilion, the quaint Buddhism of the Southeast Asia Pavilion, and the luxurious atmosphere of the African Pavillion. During the Qingming Festival, the garden will hold some Qingming cultural festivals to promote traditional festival culture. At that time, vistors can have an outing in spring, plant willion trees, watch folk customs, taste snacks, and enjoy the large-scale water live performances called ''“Luxuriant Dream of the East Capital of the Great Song Dynasty”.'' This event combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. Chrysanthemum cultural festival is another grand festivl in the garden, during which all kinds of chrysanthemums will be presented.The annual chrysanthemum festival in Kaifeng is held from October to November. Qingming Riverside Landscape Garden focuses on beautiful chrysanthemum plants, and makes full of architectures, sculptures, mountains, the surface of the water and association of activity and inertia to highlight the cultivated and creative skills of Kaifeng people. Chrysanthemums are changed into various shapes, which attracted thousands of visitors from all over the world. In the exhibition, visitors can enjoy and appreciate some species of chrysanthemum that are rarely seen in our daily life. (Zhang Lu 2013,24)<br /> <br /> There are vaious performances presented in the Qingming Riverside Landscape Garden, such as ''Luxuriant Dream of the East Capital of the Great Song Dynasty'', ''Baogong Salute to Guests'', ''Spitting Fire Show'', '''Cockfight''', ''Women’s Polo'' and so on. Among these formances, ''Luxuriant Dream of the East Capital of the Great Song Dynasty'' is a representative show of the garden. It is a large-scale live water performance produced by Qingming Riverside Landscape Garden. The performance is lasted for 70 minutes and is performed by more than 700 actors. It is a scroll about the heyday of the Northern Song Dynasty. The bustling scene of the Song Dynasty market, the prosperity of the capital of Bianliang(today’s Kaifeng), the mighty momentum of luxurious neighboring countries, the tragedy of wars, and the sustenance of blessings constitute a wash painting with a combination of noise and tranquility.(Gao Jing 2010,16)<br /> <br /> Ancient Chinese architectures and western architectures are different. The ancient architectures of China can be divided into palace architecure, religious architecture, mansion architecture and public architecture, which can be seen in the Qingming Riverside Landscape Garden. Compared with the Gothic architecture during the Middles Ages of the western Europe, the architecture of Song Dynasty shows a delicate and soft style, with complex forms of palaces, terraces, towers and pavilions, while Gothic archetecture is magnificent and exquisite. It has pointed vaults, which give people a visual impact and have a strong religious color.(Pang Runxin 2019,10)<br /> <br /> ===Terms and Expressions===<br /> <br /> ''Qingming Riverside Landscape Garden'' 清明上河园<br /> <br /> ''Riverside Scene at Qingming Festival''《清明上河图》<br /> <br /> Rainbow Bridge虹桥<br /> <br /> Fuyun Pavillion浮云阁<br /> <br /> Shangshan Gate 上善门<br /> <br /> chrysanthemum菊花<br /> <br /> ''Baogong Salute to Guests''包公迎宾<br /> <br /> ''Spitting Fire Show''气功喷火<br /> <br /> ''Cockfight''斗鸡<br /> <br /> ''Women’s Polo''女子马球<br /> <br /> ''Luxuriant Dream of the East Capital of the Great Song Dynasty''《大宋·东京梦华》<br /> <br /> ===Questions===<br /> <br /> 1.What is the location of ''Qingming Riverside Landscape Garden''?<br /> <br /> 2.What’s the role of ''Qingming Riverside Landscape Garden'' in China?<br /> <br /> 3.When was ''Qingming Riverside Landscape Garden'' opened to the public?<br /> <br /> 4.Who is the painter of ''Piverside Scene at Qingming Festival''?<br /> <br /> 5.Which dynasty of the painting ''Qingming Riverside Landscape Garden'' present?<br /> <br /> 6.What does the name of ''Fuyun Pavilion'' mean?<br /> <br /> 7.What’s the characteristics of the performance of ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> 8.Can you please list some kinds of performance of ''Qingming Riverside Landscape Garden'' besides ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?<br /> <br /> ===Answers===<br /> <br /> 1.It is located on the west bank of ''Dragon Pavilion'' in Kaifeng, Henan Province.<br /> <br /> 2.In 2009, ''Qingming Riverside Landscape Garden'' was chosed as China’s first theme park in the style of the ancients by ''China World Records Association''. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s ''intangible cultural heritage exhibition base''. <br /> <br /> 3.It was officially opened to the public on October 28, 1998.<br /> <br /> 4.Zhang Zeduan.<br /> <br /> 5.Northern Song Dynasty.<br /> <br /> 6.The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map.<br /> <br /> 7.It combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. <br /> <br /> 8.''Baogong Salute to Guests'', ''Spitting Fire Show'', ''Cockfight'', ''Women’s Polo''.<br /> <br /> ===References===<br /> <br /> Chen Kang 陈康.(2006).《清明上河园》的精彩场景——贯木拱虹桥[Excellent Scenes of Qingming Riverside Landscape Garden——Wooden Arch Rainbow Bridge].集邮博览Philatelic Panorama(07)62-63.<br /> <br /> Gao Jing高静.(2010). 清明上河园——玩转宋文化[Qingming Riverside Landscape Garden—Fully Experience the Culture of Song Dyansty].光彩Brilliance(04)16-19.<br /> <br /> Li Mei李梅.(2007).清明上河园特色建设与长远发展[Distinctive Architecture of Qingming Riverside Landscape Garden nd its Long Development].合作经济与科技Co-operative Economyand Science(8)10-12.<br /> <br /> Pang Runxin庞润昕.(2019).《清明上河图》的建筑艺术[Architectural Art in Paintings of Riverside Scene Qingming Festival].景德镇陶瓷大学Jingdezheng Ceramic Institute(06)10-16.<br /> <br /> Wei Tuo韦陀.(2006).张择端之《清明上河图》[Riverside Scene at Qingming Festival Painted by Zhang Zeduan].紫禁城Forbidden City（Z2)13-15.<br /> <br /> Zhang Lu张璐.(2013).清明上河园与宋都文化传承创新研究[Inheritance and Innovation Research Study of “Qingming River” Song Dynasty Theme Park].赤峰学院学报Chi Feng College Journal(05)23-27.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:06, 12 December 2020 (UTC) (标点符号之间需要空格）--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:27, 15 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=112937 2020-12-16T06:15:05Z

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

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=112936 2020-12-16T06:13:59Z

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

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=112571 2020-12-14T17:07:40Z

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

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=112570 2020-12-14T16:45:55Z

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

Sagara Seydou 3 https://bou.de/u/index.php?title=Introduction_to_Translation_Studies&diff=112418 2020-12-14T10:42:47Z

<p>Sagara Seydou 3: /* Here you can write your Final Exam Papers */</p> <hr /> <div>[[Media: Nida's Functional Equivalence Theory.docx]]Quicklinks: [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual]<br /> <br /> Welcome to our course website '''Introduction to Translation Studies'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is welcome!<br /> <br /> 欢迎访问我们“翻译导论课”的网页。…………<br /> <br /> =Organizational Things=<br /> *Please register for the Course Wiki.<br /> *Please prepare each session during the week before, so that you come prepared to class.<br /> <br /> Welcome Message on WeChat: 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、20级、方向）就好。Welcome to our course. I am excited to meet you on Monday online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). First, there are some organizational things to get everybody joining the class.<br /> In preparation, please register with our course wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TS_INTRO and edit the contents. You need to edit the course website every week to prepare the upcoming session. <br /> Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.<br /> <br /> =Edits=<br /> Every student is required to edit something every week. This can be:<br /> * Translate any English paragraph on this website from English to Chinese.<br /> * Correct an earlier translation.<br /> * Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.<br /> <br /> =Material=<br /> Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.<br /> <br /> *Bassnett, Susan. Translation studies. Routledge, 2013<br /> *Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 <br /> *Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.<br /> *Chen, Fukang. &quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&quot; (1992).<br /> *Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.<br /> *Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.<br /> *Huang, Chending黄振定. &quot;文学翻译评价的科学性及其科学论.&quot; 外国语 4 (1999): 49-56.<br /> *Huang, Chending 黄振定. &quot;翻译学是一门人文科学.&quot; 外语与外语教学 2 (1999): 33-35.<br /> *Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008<br /> *Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.<br /> *Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013<br /> *Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.<br /> *Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.<br /> *Pan Wenguo 潘文国. &quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&quot; 中国翻译 23.1 (2002): 31-34.<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> *Toury, Gideon. &quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&quot; Amsterdam/Philadelphia (1995).<br /> *Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.<br /> *Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Zhao, Wei 赵巍. &quot;翻译学学科性质与研究方法反思.&quot; 解放军外国语学院学报 28.6 (2005): 69-72.<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> '''Which paper or book should I read to prepare my presentation?'''<br /> <br /> Recommendations:<br /> <br /> Topic Book/Paper<br /> <br /> 1 Introduction <br /> <br /> 2 Emergence<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> <br /> 3a History of Translation <br /> *3a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.<br /> *3b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.<br /> *3c History of Chinese Translation Theories *陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.<br /> <br /> 4 Early understanding <br /> *Holmes, James. 1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam: Rodopi, 1988: 67-80.<br /> *Sourcebook Bassnett, Susan and Andre Lefevere. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, <br /> 1990.<br /> *Early linguistic theory Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.<br /> *Early important understanding Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.<br /> <br /> 5 Translation Studies<br /> *5a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. <br /> * 5b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.<br /> *5c Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.<br /> *5d Contemp. West. theories 廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.<br /> <br /> 6 Translation Theories<br /> * 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.<br /> *6a Methods Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.<br /> *6b Style 刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.<br /> *6c Translation Studies 许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.<br /> *6d TS 谭载喜. 翻译学[M]. 武汉：湖北教育出版社，2000年.<br /> <br /> 7 Theory and Practise <br /> *7a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.<br /> *7b Theory and Practise Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.<br /> *7c Textbook Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.<br /> *7d Theory and practice Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.<br /> *7e Translation Basics 刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.<br /> <br /> 8<br /> *8a “descriptive” Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia: John BenjaminB Publishing company, 1995.<br /> *8b Culture Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.<br /> *8c Invisibility Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.<br /> *8d Constructivism Research 易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.<br /> <br /> 9 Theories<br /> *9a East-West comparison 刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.<br /> *9b English-Chinese TS 蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.<br /> <br /> =Main class project=<br /> Please help to edit the publication [[History of Translation Studies]].<br /> <br /> =Schedule=<br /> '''All sessions''': 1 9/21 Organizational things, 2 Emergence, 3 History, 4 Development, 5 Early literary examples, 6 early theories, 7 (Western) Theories, 8 Methods, 9 Style, 10 Translation Studies, 11 Theory and Practice, 12 Different Aspects, 13 East West comparison, 14 Strategies, 15 Contemporary Translation Theories, 16 Final Discussion <br /> <br /> ==1st Session==<br /> Introduction to the course. Organizational things. Working with the Wiki.<br /> <br /> === Homework from Session 1 due on Sep 27, 2020 ===<br /> <br /> 1. Every student should translate 1 sentence of a paper on Qing Translation Policies. Here is the [[20200921_trans|homework page]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200921_trans|here]].<br /> <br /> 3. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!<br /> <br /> ===Homework for later===<br /> 4. Write a final exam paper as a chapter of the book &quot;Translation Studies&quot;. It has to be a new topic, not yet used in the book. I will upload the book here later. You can participate in writing this book.<br /> <br /> 5. Get familiar with the pdfs I send you on WeChat group as learning material.<br /> <br /> ==2nd Session: Emergence==<br /> <br /> ===Session 2, Topic 1: 人类起源 The emergence of translation and interpretation===<br /> *Handout for download [[Media:The_emergence_of_translation_and_interpretation.doc|Global Emergence of Interpretation and Translation]] by 彭锐宏<br /> *Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)<br /> <br /> ===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===<br /> *Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> *Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> <br /> ===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===<br /> *Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> *Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> <br /> ===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===<br /> *Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> *Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> <br /> ===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===<br /> 1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].<br /> <br /> ==3rd Session: History==<br /> <br /> ===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===<br /> *Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 2: 中国翻译史代表人物The Representatives in Chinese Translation History===<br /> *Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===<br /> *Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX<br /> *Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting<br /> <br /> ===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===<br /> *Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星<br /> <br /> ==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201005_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].<br /> <br /> ==Session 4: Development==<br /> <br /> ===Session 4, Topic 1: 西方翻译史 Western translation history===<br /> *Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===<br /> *Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===<br /> *Handout for download: [[Media:...docx|History of Western Translation Theory]] by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> * Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]] by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> <br /> ===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===<br /> *Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===<br /> *Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===<br /> *Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===<br /> *Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===<br /> *Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)<br /> <br /> ==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===<br /> <br /> 1. Every student should translate a short passage of a paper on the Chinese essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201012_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].<br /> <br /> 3. Take part in an online survey. The survey is currently prepared by the fellow students.<br /> <br /> ==Session 5: ==<br /> <br /> ===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===<br /> *Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining<br /> *Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei<br /> <br /> ===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===<br /> *Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)<br /> <br /> [[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)<br /> <br /> ===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===<br /> *Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen<br /> *Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi<br /> <br /> Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.<br /> <br /> ===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===<br /> *Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu<br /> <br /> ===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===<br /> *Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)<br /> <br /> ===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===<br /> *Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)<br /> <br /> ==Session 6: Early Theories==<br /> <br /> <br /> <br /> ==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201019_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].<br /> <br /> ===Session 6, Topic 1: 巴斯奈特文化翻译观 The Cultural Translation Theory of Bassnett===<br /> <br /> Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie<br /> <br /> ===Session 6, Topic 2: 中国早期代表性佛经翻译理论 Early Representative Theories of Buddhist Scriptures Translation in China===<br /> <br /> Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式 The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===<br /> <br /> Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing<br /> <br /> Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu<br /> <br /> ===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》 A Linguistic Theory of Translation of J.C.Catford===<br /> <br /> Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===<br /> Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)<br /> <br /> Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 6: 系统翻译理论的早期尝试 Early Attempts at Systematic Translation Theory===<br /> <br /> Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)<br /> <br /> =Session 7: Western theories=<br /> <br /> ===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201026_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].<br /> <br /> ===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===<br /> <br /> Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 2: 多元系统理论 Polysystem Theory===<br /> <br /> Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===<br /> <br /> Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 4： 布拉格学派 Prague School===<br /> <br /> Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 5： 目的论 Skopos Theory===<br /> <br /> Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan<br /> <br /> Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling<br /> <br /> ===Session 7, Topic 6： 语言学派 Linguistic School===<br /> <br /> Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)<br /> <br /> Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)<br /> <br /> =Session 8: Methods=<br /> <br /> ===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201102_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].<br /> <br /> ===Session 8, Topic 1： 正说反译与反说正译 Negation===<br /> Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===<br /> Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===<br /> Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===<br /> Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)<br /> Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 5： 增译与减译 Amplification and Omission===<br /> Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing<br /> <br /> ===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===<br /> Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)<br /> Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)<br /> <br /> =Session 9: Style=<br /> <br /> ===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201116_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].<br /> <br /> ===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===<br /> <br /> Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)<br /> <br /> ===Session 9, Topic2 : 科技翻译 Scientific Style===<br /> <br /> Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===<br /> <br /> Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===<br /> Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 5: 翻译与风格 Translation and Style= ==<br /> Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang<br /> <br /> Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu<br /> <br /> [[Media:Example.ogg]]<br /> <br /> =Session 10: Translation Studies=<br /> <br /> ===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201123_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].<br /> <br /> ===Session 10,Topic 1: 翻译转换 Translation Shifts===<br /> Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===<br /> Classroom presentation for download:[[Media:Decoding and Recoding.pptx]]--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:33, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Decoding and Recoding.docx]]--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 04:32, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 3: 视听翻译 Audiovisual Translation===<br /> Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC) - READ BY NIE XIAOLOU<br /> <br /> Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 4: 对钱钟书“化境说”的理论研究 The Translation Studies of Qian Zhongshu’s Theory of Huajing===<br /> [[Media:Handout-The Translation Studies of Qian Zhongshu’s theory of Huajing.docx]]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:38, 23 November 2020 (UTC)<br /> <br /> [[Media:The Translation Studies of Qian Zhongshu’s theory of Huajing.pptx]]--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 05:40, 23 November 2020 (UTC)<br /> <br /> ===Session 10, Topic 5: 英汉被动语态对比研究及其翻译策略 Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies===<br /> Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.pptx]] --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====<br /> <br /> Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Untranslatability &amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)<br /> <br /> =Session 11: Theory and Practice=<br /> <br /> ===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201130_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201130_trans|here]].<br /> <br /> ===Session 11,Topic 1: 功能对等理论对商标翻译的影响 The Effect of the Equivalence Theory on Trademark Translation===<br /> <br /> Classroom handout for download:[[Media:Handout.The Theory and Practice.docx]]--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:38, 30 November 2020 (UTC)Pengjuan<br /> <br /> Classroom presentation for download:[[Media:The Effect of the Equivalence Theory on Trademark Translation.pptx]]--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 08:08, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===<br /> <br /> Classroom handout for download：[[Media:Handout.The Practice of Foreignization and Domestication.docx]]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 01:21, 30 November 2020 (UTC)Wu Zijia<br /> <br /> Classroom presentation for download:[[Media:Translation practice in domestication and foreignization.pptx]]--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:00, 29 November 2020 (UTC)Lei Kuangxi<br /> <br /> ===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===<br /> <br /> Classroom handout for download：[[Media:Skopos Theory and its Applications.docx]]--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:08, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download：[[Media:Skopos Theory and its Applications.pptx]]--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 05:16, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation=== <br /> <br /> Classroom handout for download:[[Media:The Semantic Translation and Communicative Translation.docx]]--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 16:30, 29 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:The Semantic Translation and Communicative Translation.ppt]]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:56, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 5: 奈达的功能对等理论及其在科技文英译汉中的应用 Nida's Functional Equivalence Theory and its Application in E-C Translation of EST===<br /> <br /> Classroom handout for download：[[Media:Nida’s_Functional_Equivalence_Theory_and_its_Application_in E-C_Translation_of_EST.docx]]--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:03, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory and its Application in E-C Translation of EST.pptx]]--[[User:Zhou Yuanqu|Zhou Yuanqu]]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:25, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 6:女性主义翻译 The Feminist Translation===<br /> <br /> Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)<br /> <br /> Classroom presentation：[[Media:Feminist Translation.pptx]]<br /> <br /> =Session 12: Different Aspects=<br /> <br /> ===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201207_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201207_trans|here]].<br /> <br /> ===Session 12, Topic 1: 政论文翻译 Translation of Political Text===<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.docx]]--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:21, 4 December 2020 (UTC)<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.pptx]] By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 12:30, 4 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 2: 诗歌翻译 Poem Translation===<br /> Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)<br /> <br /> <br /> [[Media:Poem_Translation_handout.docx]] by Zhang Yujie&amp; Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 3: 旅游翻译 Tourism Translation===<br /> Classroom handout for download:[[Media:Tourism Translation.pptx]] by Tan Xinjie &amp; Wei Yafei --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei <br /> <br /> <br /> [[Media:Tourism_Translation_handout.docx]] by Tan Xinjie &amp; Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei<br /> <br /> =Session 13: East West comparison=<br /> <br /> ===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201214_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201214_trans|here]].<br /> <br /> ===Topic 1:严复和泰特勒翻译标准之对比 A Comparison between Yan Fu's and Tytler's Translation Criteria===<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.pptx]]--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:15, 14 December 2020 (UTC)Tang Ming<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.docx]]--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 06:52, 14 December 2020 (UTC)Ou Rong<br /> <br /> ===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.pptx]] by Liu Yi.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:38, 6 December 2020 (UTC)<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.doc]] by Tan Yuanyuan.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 15:47, 6 December 2020 (UTC)<br /> <br /> ===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===<br /> [[Media:Handout-The Influence of Chinese and Western Cultural Differences on Translation.doc]] by Yang Yue--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:10, 10 December 2020 (UTC)<br /> [[Media:The Influence of Chinese and Western Cultural Differences on Translation.pptx]] by Yi Zichu--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 05:01, 10 December 2020 (UTC)<br /> <br /> ===Topic 4:中国佛经翻译与圣经翻译的比较Comparison Between the translation of Buddhist scriptures of China and Bible translation===<br /> [[Media:The Comparison of the Chinese translation of Buddhist Scriptures and Bible translation.pptx]]by Xiao Ting--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:54, 13 December 2020 (UTC)Xiao Ting<br /> <br /> [[Media:The Comparison of the Chinese Translation of Buddhist Scriptures and Bible Translation.docx]]--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:07, 13 December 2020 (UTC)Xu Jia<br /> <br /> ===Topic 5:20世纪中叶以来中西翻译理论对比 Comparison of Chinese and Western translation theories since the mid-term of the 20th century===<br /> <br /> [[Media:Comparison of Chinese and Western translation theories since the mid-term of the 20th century by Mo Ling.pptx]]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:38, 11 December 2020 (UTC)Mo Ling<br /> <br /> [[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]<br /> <br /> ===Topic 6；中西思维方式差异在翻译中的体现——以习语为例 The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example===<br /> <br /> Classroom handout for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.docx]]--[[User:Chen Sha|Chen Jiangning]] --[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.pptx]] By Chen Jiangning --[[User:Chen Sha|Chen Jiangning]]--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> =Session 14: Strategies=<br /> =Session 15: Contemporary Translation Theories=<br /> =Session 16: Final Discussion=<br /> <br /> --[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:52, 30 November 2020 (UTC)<br /> <br /> ==List of topics for presentations and handouts in class==<br /> 1 Emergence: <br /> 孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源<br /> <br /> 2 History: <br /> 周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史<br /> <br /> 3 Development: <br /> 韩宛真 邓锦霞: 机器翻译的发展; 蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展<br /> <br /> 4 Early Literary Examples: <br /> 许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟<br /> <br /> 5 Early Theories: <br /> 徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试<br /> <br /> 6 (Western) Theories: <br /> 康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派<br /> <br /> 7 Methods: <br /> 甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦<br /> <br /> 8 Style: <br /> 孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳<br /> <br /> 9 Translation Studies: <br /> 罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略<br /> <br /> 10 Theory and Practice: <br /> 彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓 王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅; 阳慧 张佩闻; <br /> <br /> 11 Different Aspects: <br /> 周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; <br /> <br /> 12 East West Comparison: <br /> 唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳：中国佛经翻译和圣经翻译的比较; 莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异在翻译中的体现--以习语为例。<br /> <br /> 13 Strategies: <br /> 吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠<br /> <br /> 14 Contemporary translation Theories: <br /> Sagara Seydo Nguyen, Thuy Hien (Helen)<br /> <br /> ==List of Topics for final exam papers in Translation Studies==<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Ideas<br /> *literal vs. free<br /> *Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization<br /> *unit of translation<br /> *contrastive analysis<br /> *the equivalence problem (functional, dynamic)<br /> *translatability vs untranslatability <br /> *SLT vs TLT relation<br /> *translation types, strategies, styles, methods<br /> *communication factors, translator role in social setting<br /> *cognitive factors<br /> *machine translation<br /> *translation quality assessment<br /> *translation ethics / manipulation etc.<br /> <br /> <br /> Suggested topics for final exam papers (chapters of book on translation studies)<br /> <br /> Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.<br /> <br /> Here is the link to the list: [[Topics in Translation Studies]]<br /> <br /> =Final Exam Papers - New Deadline: Dec 21, 2020=<br /> &lt;span style=&quot;color:red&quot;&gt;The deadline has been extended to '''Dec 21, 2020'''. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until Dec 19. The author then finalizes (works in the suggestions) until the final deadline Dec 21!&lt;/span&gt;<br /> <br /> ==Tips for writing your final exam paper: How to indicate your references==<br /> *You can use the existing book chapters here as an example.<br /> *Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Do '''not''' write any references like in one of the sample chapters:<br /> <br /> [1] dsalkfkdsa<br /> <br /> [2] adsfadsfag<br /> <br /> But only the following way:<br /> <br /> (Liu Miqing 2010, 17) in the text<br /> <br /> and then<br /> <br /> '''References'''<br /> *Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学.<br /> <br /> Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):<br /> = = Topic = =<br /> &lt; c e n t e r &gt; Student Name, Student no. &lt; / c e n t e r &gt;<br /> = = = Abstract = = =<br /> This chapter is on ....<br /> = = = Key Words = = =<br /> Egg, Hen<br /> = = = 题目 = = =<br /> = = = 摘要 = = =<br /> = = = 关键词 = = =<br /> = = = Introduction = = =<br /> Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.<br /> = = = The Egg = = =<br /> Bla, bla, bla<br /> = = = The Hen = = =<br /> Bla, bla, bla<br /> = = = Conclusion = = =<br /> Bla, bla, bla<br /> = = = References = = =<br /> Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT <br /> <br /> ==Sample papers==<br /> You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with &quot;Sample paper&quot;.<br /> * A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories<br /> * An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications<br /> * Comparative Study on Functional Equivalence Theory and Skopos Theroy<br /> * Comparison of Derrida’s and Benjamin’s Translation View<br /> * Impacts of Western Translation Theories on The Translator’s Guide to Chinglish<br /> * On the Comparison between &quot;Sublimation&quot; an &quot;Functonal Equivalence&quot; Theories<br /> * Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics<br /> * The Translation of Culture-loaded Words in Chinese-English Communication<br /> * Translators' Views on Translation Influence Their Translation Behavior<br /> <br /> ==Websites to write your final exam paper on==<br /> The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).<br /> <br /> ==Here you can write your Final Exam Papers==<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_3 Part 3, students: 蒋凤仪 Jiang Fengyi, 解帆 Xie Fan, 雷旷溪 Lei Kuangxi, 郑华君 Zheng Huajun, 文晓艺 Wen Xiaoyi, 陶冶 Tao Ye, 孔亚楠 Kong Yanan, 陈江宁 Chen Jiangning, 杨晨婷 Yang Chenting, 康灵凤 Kang Lingfeng，杨逸 Yang Yi, 马淑雅 Ma Shuya, 雷方圆 Lei Fangyuan, 张佩闻 Zhang Peiwen, 李丽琴 Li Liqin, 张瑜 Zhang Yu, 刘怡瑜 Liu Yiyu, 李梦 Li Meng, 林鑫 Lin Xin, 罗维嘉 Luo Weijia, 漆凯 Qi Kai, 郭露 Guo Lu，张宇星 Zhang Yuxing, 陈涵 Chen Han, 李丽丽 Li Lili, 刘柳 Liu Liu, 陈莎 Chen Sha, 徐梦蝶 Xu Mengdie,彭丹 Peng Dan， 莫南 Mo Nan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_4 Part 4, students: 杨海容 Yang Hairong，游雨婷 You Yuting，王源 Wang Yuan，徐佳 Xu Jia，凌子瑾 Ling Zijin，石迪文 Shi Diwen，张玲 Zhang Ling，曾心媛 Zeng Xinyuan，姚诚 Yao Cheng，朱旭 Zhu Xu，许鹏飞 Xu Pengfei，赵晓燕 Zhao Xiaoyan，张琪 Zhang Qi，周园曲 Zhou Yuanqu, 全美欣 Quan Meixin，何长琦 He Changqi，刘博 Liu Bo，刘金惺琦 liu Jinxingqi，谌孙福 Chen Sunfu，曾芳缘 Zeng Fangyuan，肖婷 Xiao Ting，常慧月 Chang Huiyue，彭娟 Peng Juan，彭小玲 Peng Xiaoling，杨悦 Yang Yue，肖双玲 Xiao Shuangling，彭育志 Peng Yuzhi]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_5 Part 5, students: 李玉 Li Yu，林敏 Lin Min，孟莹 Meng Ying，文偲荇 Wen Sixing， 周诗卿 Zhou Shiqing，朱素瑶 Zhu Suyao，胡百辉 Hu Baihui，马智星 Ma Zhixing, 胡瑾 Hu Jin，张毓婕 Zhang Yujie，顾东方 Gu Dongfang，高明珠 Gao Mingzhu，张虎 Zhang Hu，袁诗琦 Yuan Shiqi，王美玲 Wang Meiling，康浩宇 Kang Haoyu，王轩 Wang Xuan，陈永相 Chen Yongxiang，莫玲 Mo Ling，袁天翼 Yuan Tianyi，欧阳静兰 Ouyang Jinglan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_6 Part 6, students:汤蓓 Tang Bei欧蓉 Ou Rong，谭星越 Tan Xingyue，周罗平 Zhou Luoping，龚钰冕 Gong Yumian， 陈惠 Chen Hui，罗雨晴 Luo Yuqing，谭鑫洁 Tan Xinjie，周思庆 Zhou Siqing，蒋淇玮 Jiang Qiwei，瞿淼 Qu Miao，韩海洋 Han Haiyang，刘金惺琦 liu jinxingqi，解帆 Xie Fan，刘洋诺 Liu Yangnuo，袁雨晨 Yuan Yuchen，邬香 Wu Xiang]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_7 Part 7, students:曾雁湖 Zeng Yanhu，邓锦霞 Deng Jinxia，姜好 Jiang Hao，管钦清 Guan Qinqing，唐铭 Tang Ming，娄灿灿 Lou Cancan，丁代凤 Ding Daifeng，苏琳 Su Lin，徐佳 Xu Jia， 刘艺 Liu Yi，李凌月 Li Lingyue，马娟 Ma Juan，吴琪 Wu Qi，姚佳 Yao Jia，李海泉 Li Haiquan，吴琼 Wu Qiong，杨子泠 Yang Ziling，林敏 Lin Min，彭锐宏 Peng Ruihong ，汤伊然 Tang Yiran，阳慧 Yang Hui，刘智伟 Liu Zhiwei]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_8 Part 8, students: 王煜 Wang Yu，方洁玲 Fang Jieling，许静 Xu Jing，周书尧 Zhou Shuyao，彭永亮 Peng Yongliang，宋建茹 Song Jianru，韦洪朗 Wei Honglang，魏亚菲 Wei Yafei，张雪仪 Zhang Xueyi，甘奉玉 Gan Fengyu，赵茜 Zhao Xi，吴恺 Wu Kai，周艺文 Zhou Yiwen，张维虹 Zhang Weihong，司妤 Si Yu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_9 Part 9, students: 易欢 Yi Huan，曾良 Zeng Liang，义子楚 Yi Zichu，欧阳玲 Ouyang Ling，石海瑶 Shi Haiyao，胡慧芳 Hu Huifang，吴一露 Wu Yilu，纪甜甜 Ji Tiantian, 桂一枝 Gui Yizhi，刘欧 Liu Ou，祝美梅 Zhu Meimei，谭媛媛 Tan Yuanyuan，张银柳 Zhang Yinliu，李泳珊 Li Yongshan，聂晓楼 Nie Xiaolou]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_10 Part 10, students:陈静静 Chen Jingjing， Thuy Hien Nguyen Thuy Hien，肖茜 Xiao Xi，余妮 Yu Ni，韩宛真 Han Wanzhen，陈佳欣 Chen Jiaxin，成于思 Cheng Yusi，方洁玲 Fang Jieling，张慧 Zhang Hui，吴子佳 Wu Zijia，孔祥慧 Kong Xianghui，李璐伊 Li Luyi，许晶 Xu Jing，周玉娟 Zhou Yujuan，邹鑫雨 Zou Xinyu，曹润鑫 Cao Runxin，肖伊宁 Xiao Yining]<br /> <br /> =Benefits=<br /> This course is registered as a &quot;EU Expert&quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=Introduction_to_Translation_Studies&diff=112417 2020-12-14T10:39:27Z

<p>Sagara Seydou 3: /* Here you can write your Final Exam Papers */</p> <hr /> <div>[[Media: Nida's Functional Equivalence Theory.docx]]Quicklinks: [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual]<br /> <br /> Welcome to our course website '''Introduction to Translation Studies'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is welcome!<br /> <br /> 欢迎访问我们“翻译导论课”的网页。…………<br /> <br /> =Organizational Things=<br /> *Please register for the Course Wiki.<br /> *Please prepare each session during the week before, so that you come prepared to class.<br /> <br /> Welcome Message on WeChat: 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、20级、方向）就好。Welcome to our course. I am excited to meet you on Monday online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). First, there are some organizational things to get everybody joining the class.<br /> In preparation, please register with our course wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TS_INTRO and edit the contents. You need to edit the course website every week to prepare the upcoming session. <br /> Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.<br /> <br /> =Edits=<br /> Every student is required to edit something every week. This can be:<br /> * Translate any English paragraph on this website from English to Chinese.<br /> * Correct an earlier translation.<br /> * Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.<br /> <br /> =Material=<br /> Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.<br /> <br /> *Bassnett, Susan. Translation studies. Routledge, 2013<br /> *Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 <br /> *Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.<br /> *Chen, Fukang. &quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&quot; (1992).<br /> *Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.<br /> *Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.<br /> *Huang, Chending黄振定. &quot;文学翻译评价的科学性及其科学论.&quot; 外国语 4 (1999): 49-56.<br /> *Huang, Chending 黄振定. &quot;翻译学是一门人文科学.&quot; 外语与外语教学 2 (1999): 33-35.<br /> *Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008<br /> *Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.<br /> *Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013<br /> *Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.<br /> *Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.<br /> *Pan Wenguo 潘文国. &quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&quot; 中国翻译 23.1 (2002): 31-34.<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> *Toury, Gideon. &quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&quot; Amsterdam/Philadelphia (1995).<br /> *Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.<br /> *Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Zhao, Wei 赵巍. &quot;翻译学学科性质与研究方法反思.&quot; 解放军外国语学院学报 28.6 (2005): 69-72.<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> '''Which paper or book should I read to prepare my presentation?'''<br /> <br /> Recommendations:<br /> <br /> Topic Book/Paper<br /> <br /> 1 Introduction <br /> <br /> 2 Emergence<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> <br /> 3a History of Translation <br /> *3a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.<br /> *3b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.<br /> *3c History of Chinese Translation Theories *陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.<br /> <br /> 4 Early understanding <br /> *Holmes, James. 1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam: Rodopi, 1988: 67-80.<br /> *Sourcebook Bassnett, Susan and Andre Lefevere. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, <br /> 1990.<br /> *Early linguistic theory Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.<br /> *Early important understanding Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.<br /> <br /> 5 Translation Studies<br /> *5a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. <br /> * 5b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.<br /> *5c Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.<br /> *5d Contemp. West. theories 廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.<br /> <br /> 6 Translation Theories<br /> * 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.<br /> *6a Methods Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.<br /> *6b Style 刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.<br /> *6c Translation Studies 许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.<br /> *6d TS 谭载喜. 翻译学[M]. 武汉：湖北教育出版社，2000年.<br /> <br /> 7 Theory and Practise <br /> *7a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.<br /> *7b Theory and Practise Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.<br /> *7c Textbook Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.<br /> *7d Theory and practice Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.<br /> *7e Translation Basics 刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.<br /> <br /> 8<br /> *8a “descriptive” Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia: John BenjaminB Publishing company, 1995.<br /> *8b Culture Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.<br /> *8c Invisibility Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.<br /> *8d Constructivism Research 易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.<br /> <br /> 9 Theories<br /> *9a East-West comparison 刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.<br /> *9b English-Chinese TS 蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.<br /> <br /> =Main class project=<br /> Please help to edit the publication [[History of Translation Studies]].<br /> <br /> =Schedule=<br /> '''All sessions''': 1 9/21 Organizational things, 2 Emergence, 3 History, 4 Development, 5 Early literary examples, 6 early theories, 7 (Western) Theories, 8 Methods, 9 Style, 10 Translation Studies, 11 Theory and Practice, 12 Different Aspects, 13 East West comparison, 14 Strategies, 15 Contemporary Translation Theories, 16 Final Discussion <br /> <br /> ==1st Session==<br /> Introduction to the course. Organizational things. Working with the Wiki.<br /> <br /> === Homework from Session 1 due on Sep 27, 2020 ===<br /> <br /> 1. Every student should translate 1 sentence of a paper on Qing Translation Policies. Here is the [[20200921_trans|homework page]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200921_trans|here]].<br /> <br /> 3. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!<br /> <br /> ===Homework for later===<br /> 4. Write a final exam paper as a chapter of the book &quot;Translation Studies&quot;. It has to be a new topic, not yet used in the book. I will upload the book here later. You can participate in writing this book.<br /> <br /> 5. Get familiar with the pdfs I send you on WeChat group as learning material.<br /> <br /> ==2nd Session: Emergence==<br /> <br /> ===Session 2, Topic 1: 人类起源 The emergence of translation and interpretation===<br /> *Handout for download [[Media:The_emergence_of_translation_and_interpretation.doc|Global Emergence of Interpretation and Translation]] by 彭锐宏<br /> *Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)<br /> <br /> ===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===<br /> *Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> *Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> <br /> ===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===<br /> *Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> *Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> <br /> ===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===<br /> *Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> *Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> <br /> ===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===<br /> 1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].<br /> <br /> ==3rd Session: History==<br /> <br /> ===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===<br /> *Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 2: 中国翻译史代表人物The Representatives in Chinese Translation History===<br /> *Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===<br /> *Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX<br /> *Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting<br /> <br /> ===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===<br /> *Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星<br /> <br /> ==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201005_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].<br /> <br /> ==Session 4: Development==<br /> <br /> ===Session 4, Topic 1: 西方翻译史 Western translation history===<br /> *Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===<br /> *Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===<br /> *Handout for download: [[Media:...docx|History of Western Translation Theory]] by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> * Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]] by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> <br /> ===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===<br /> *Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===<br /> *Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===<br /> *Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===<br /> *Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===<br /> *Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)<br /> <br /> ==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===<br /> <br /> 1. Every student should translate a short passage of a paper on the Chinese essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201012_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].<br /> <br /> 3. Take part in an online survey. The survey is currently prepared by the fellow students.<br /> <br /> ==Session 5: ==<br /> <br /> ===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===<br /> *Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining<br /> *Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei<br /> <br /> ===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===<br /> *Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)<br /> <br /> [[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)<br /> <br /> ===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===<br /> *Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen<br /> *Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi<br /> <br /> Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.<br /> <br /> ===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===<br /> *Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu<br /> <br /> ===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===<br /> *Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)<br /> <br /> ===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===<br /> *Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)<br /> <br /> ==Session 6: Early Theories==<br /> <br /> <br /> <br /> ==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201019_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].<br /> <br /> ===Session 6, Topic 1: 巴斯奈特文化翻译观 The Cultural Translation Theory of Bassnett===<br /> <br /> Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie<br /> <br /> ===Session 6, Topic 2: 中国早期代表性佛经翻译理论 Early Representative Theories of Buddhist Scriptures Translation in China===<br /> <br /> Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式 The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===<br /> <br /> Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing<br /> <br /> Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu<br /> <br /> ===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》 A Linguistic Theory of Translation of J.C.Catford===<br /> <br /> Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===<br /> Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)<br /> <br /> Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 6: 系统翻译理论的早期尝试 Early Attempts at Systematic Translation Theory===<br /> <br /> Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)<br /> <br /> =Session 7: Western theories=<br /> <br /> ===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201026_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].<br /> <br /> ===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===<br /> <br /> Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 2: 多元系统理论 Polysystem Theory===<br /> <br /> Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===<br /> <br /> Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 4： 布拉格学派 Prague School===<br /> <br /> Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 5： 目的论 Skopos Theory===<br /> <br /> Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan<br /> <br /> Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling<br /> <br /> ===Session 7, Topic 6： 语言学派 Linguistic School===<br /> <br /> Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)<br /> <br /> Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)<br /> <br /> =Session 8: Methods=<br /> <br /> ===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201102_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].<br /> <br /> ===Session 8, Topic 1： 正说反译与反说正译 Negation===<br /> Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===<br /> Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===<br /> Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===<br /> Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)<br /> Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 5： 增译与减译 Amplification and Omission===<br /> Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing<br /> <br /> ===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===<br /> Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)<br /> Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)<br /> <br /> =Session 9: Style=<br /> <br /> ===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201116_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].<br /> <br /> ===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===<br /> <br /> Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)<br /> <br /> ===Session 9, Topic2 : 科技翻译 Scientific Style===<br /> <br /> Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===<br /> <br /> Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===<br /> Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 5: 翻译与风格 Translation and Style= ==<br /> Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang<br /> <br /> Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu<br /> <br /> [[Media:Example.ogg]]<br /> <br /> =Session 10: Translation Studies=<br /> <br /> ===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201123_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].<br /> <br /> ===Session 10,Topic 1: 翻译转换 Translation Shifts===<br /> Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===<br /> Classroom presentation for download:[[Media:Decoding and Recoding.pptx]]--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:33, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Decoding and Recoding.docx]]--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 04:32, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 3: 视听翻译 Audiovisual Translation===<br /> Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC) - READ BY NIE XIAOLOU<br /> <br /> Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 4: 对钱钟书“化境说”的理论研究 The Translation Studies of Qian Zhongshu’s Theory of Huajing===<br /> [[Media:Handout-The Translation Studies of Qian Zhongshu’s theory of Huajing.docx]]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:38, 23 November 2020 (UTC)<br /> <br /> [[Media:The Translation Studies of Qian Zhongshu’s theory of Huajing.pptx]]--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 05:40, 23 November 2020 (UTC)<br /> <br /> ===Session 10, Topic 5: 英汉被动语态对比研究及其翻译策略 Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies===<br /> Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.pptx]] --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====<br /> <br /> Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Untranslatability &amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)<br /> <br /> =Session 11: Theory and Practice=<br /> <br /> ===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201130_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201130_trans|here]].<br /> <br /> ===Session 11,Topic 1: 功能对等理论对商标翻译的影响 The Effect of the Equivalence Theory on Trademark Translation===<br /> <br /> Classroom handout for download:[[Media:Handout.The Theory and Practice.docx]]--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:38, 30 November 2020 (UTC)Pengjuan<br /> <br /> Classroom presentation for download:[[Media:The Effect of the Equivalence Theory on Trademark Translation.pptx]]--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 08:08, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===<br /> <br /> Classroom handout for download：[[Media:Handout.The Practice of Foreignization and Domestication.docx]]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 01:21, 30 November 2020 (UTC)Wu Zijia<br /> <br /> Classroom presentation for download:[[Media:Translation practice in domestication and foreignization.pptx]]--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:00, 29 November 2020 (UTC)Lei Kuangxi<br /> <br /> ===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===<br /> <br /> Classroom handout for download：[[Media:Skopos Theory and its Applications.docx]]--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:08, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download：[[Media:Skopos Theory and its Applications.pptx]]--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 05:16, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation=== <br /> <br /> Classroom handout for download:[[Media:The Semantic Translation and Communicative Translation.docx]]--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 16:30, 29 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:The Semantic Translation and Communicative Translation.ppt]]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:56, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 5: 奈达的功能对等理论及其在科技文英译汉中的应用 Nida's Functional Equivalence Theory and its Application in E-C Translation of EST===<br /> <br /> Classroom handout for download：[[Media:Nida’s_Functional_Equivalence_Theory_and_its_Application_in E-C_Translation_of_EST.docx]]--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:03, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory and its Application in E-C Translation of EST.pptx]]--[[User:Zhou Yuanqu|Zhou Yuanqu]]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:25, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 6:女性主义翻译 The Feminist Translation===<br /> <br /> Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)<br /> <br /> Classroom presentation：[[Media:Feminist Translation.pptx]]<br /> <br /> =Session 12: Different Aspects=<br /> <br /> ===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201207_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201207_trans|here]].<br /> <br /> ===Session 12, Topic 1: 政论文翻译 Translation of Political Text===<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.docx]]--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:21, 4 December 2020 (UTC)<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.pptx]] By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 12:30, 4 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 2: 诗歌翻译 Poem Translation===<br /> Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)<br /> <br /> <br /> [[Media:Poem_Translation_handout.docx]] by Zhang Yujie&amp; Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 3: 旅游翻译 Tourism Translation===<br /> Classroom handout for download:[[Media:Tourism Translation.pptx]] by Tan Xinjie &amp; Wei Yafei --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei <br /> <br /> <br /> [[Media:Tourism_Translation_handout.docx]] by Tan Xinjie &amp; Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei<br /> <br /> =Session 13: East West comparison=<br /> <br /> ===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201214_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201214_trans|here]].<br /> <br /> ===Topic 1:严复和泰特勒翻译标准之对比 A Comparison between Yan Fu's and Tytler's Translation Criteria===<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.pptx]]--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:15, 14 December 2020 (UTC)Tang Ming<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.docx]]--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 06:52, 14 December 2020 (UTC)Ou Rong<br /> <br /> ===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.pptx]] by Liu Yi.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:38, 6 December 2020 (UTC)<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.doc]] by Tan Yuanyuan.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 15:47, 6 December 2020 (UTC)<br /> <br /> ===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===<br /> [[Media:Handout-The Influence of Chinese and Western Cultural Differences on Translation.doc]] by Yang Yue--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:10, 10 December 2020 (UTC)<br /> [[Media:The Influence of Chinese and Western Cultural Differences on Translation.pptx]] by Yi Zichu--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 05:01, 10 December 2020 (UTC)<br /> <br /> ===Topic 4:中国佛经翻译与圣经翻译的比较Comparison Between the translation of Buddhist scriptures of China and Bible translation===<br /> [[Media:The Comparison of the Chinese translation of Buddhist Scriptures and Bible translation.pptx]]by Xiao Ting--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:54, 13 December 2020 (UTC)Xiao Ting<br /> <br /> [[Media:The Comparison of the Chinese Translation of Buddhist Scriptures and Bible Translation.docx]]--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:07, 13 December 2020 (UTC)Xu Jia<br /> <br /> ===Topic 5:20世纪中叶以来中西翻译理论对比 Comparison of Chinese and Western translation theories since the mid-term of the 20th century===<br /> <br /> [[Media:Comparison of Chinese and Western translation theories since the mid-term of the 20th century by Mo Ling.pptx]]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:38, 11 December 2020 (UTC)Mo Ling<br /> <br /> [[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]<br /> <br /> ===Topic 6；中西思维方式差异在翻译中的体现——以习语为例 The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example===<br /> <br /> Classroom handout for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.docx]]--[[User:Chen Sha|Chen Jiangning]] --[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.pptx]] By Chen Jiangning --[[User:Chen Sha|Chen Jiangning]]--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> =Session 14: Strategies=<br /> =Session 15: Contemporary Translation Theories=<br /> =Session 16: Final Discussion=<br /> <br /> --[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:52, 30 November 2020 (UTC)<br /> <br /> ==List of topics for presentations and handouts in class==<br /> 1 Emergence: <br /> 孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源<br /> <br /> 2 History: <br /> 周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史<br /> <br /> 3 Development: <br /> 韩宛真 邓锦霞: 机器翻译的发展; 蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展<br /> <br /> 4 Early Literary Examples: <br /> 许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟<br /> <br /> 5 Early Theories: <br /> 徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试<br /> <br /> 6 (Western) Theories: <br /> 康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派<br /> <br /> 7 Methods: <br /> 甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦<br /> <br /> 8 Style: <br /> 孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳<br /> <br /> 9 Translation Studies: <br /> 罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略<br /> <br /> 10 Theory and Practice: <br /> 彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓 王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅; 阳慧 张佩闻; <br /> <br /> 11 Different Aspects: <br /> 周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; <br /> <br /> 12 East West Comparison: <br /> 唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳：中国佛经翻译和圣经翻译的比较; 莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异在翻译中的体现--以习语为例。<br /> <br /> 13 Strategies: <br /> 吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠<br /> <br /> 14 Contemporary translation Theories: <br /> Sagara Seydo Nguyen, Thuy Hien (Helen)<br /> <br /> ==List of Topics for final exam papers in Translation Studies==<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Ideas<br /> *literal vs. free<br /> *Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization<br /> *unit of translation<br /> *contrastive analysis<br /> *the equivalence problem (functional, dynamic)<br /> *translatability vs untranslatability <br /> *SLT vs TLT relation<br /> *translation types, strategies, styles, methods<br /> *communication factors, translator role in social setting<br /> *cognitive factors<br /> *machine translation<br /> *translation quality assessment<br /> *translation ethics / manipulation etc.<br /> <br /> <br /> Suggested topics for final exam papers (chapters of book on translation studies)<br /> <br /> Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.<br /> <br /> Here is the link to the list: [[Topics in Translation Studies]]<br /> <br /> =Final Exam Papers - New Deadline: Dec 21, 2020=<br /> &lt;span style=&quot;color:red&quot;&gt;The deadline has been extended to '''Dec 21, 2020'''. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until Dec 19. The author then finalizes (works in the suggestions) until the final deadline Dec 21!&lt;/span&gt;<br /> <br /> ==Tips for writing your final exam paper: How to indicate your references==<br /> *You can use the existing book chapters here as an example.<br /> *Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Do '''not''' write any references like in one of the sample chapters:<br /> <br /> [1] dsalkfkdsa<br /> <br /> [2] adsfadsfag<br /> <br /> But only the following way:<br /> <br /> (Liu Miqing 2010, 17) in the text<br /> <br /> and then<br /> <br /> '''References'''<br /> *Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学.<br /> <br /> Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):<br /> = = Topic = =<br /> &lt; c e n t e r &gt; Student Name, Student no. &lt; / c e n t e r &gt;<br /> = = = Abstract = = =<br /> This chapter is on ....<br /> = = = Key Words = = =<br /> Egg, Hen<br /> = = = 题目 = = =<br /> = = = 摘要 = = =<br /> = = = 关键词 = = =<br /> = = = Introduction = = =<br /> Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.<br /> = = = The Egg = = =<br /> Bla, bla, bla<br /> = = = The Hen = = =<br /> Bla, bla, bla<br /> = = = Conclusion = = =<br /> Bla, bla, bla<br /> = = = References = = =<br /> Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT <br /> <br /> ==Sample papers==<br /> You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with &quot;Sample paper&quot;.<br /> * A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories<br /> * An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications<br /> * Comparative Study on Functional Equivalence Theory and Skopos Theroy<br /> * Comparison of Derrida’s and Benjamin’s Translation View<br /> * Impacts of Western Translation Theories on The Translator’s Guide to Chinglish<br /> * On the Comparison between &quot;Sublimation&quot; an &quot;Functonal Equivalence&quot; Theories<br /> * Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics<br /> * The Translation of Culture-loaded Words in Chinese-English Communication<br /> * Translators' Views on Translation Influence Their Translation Behavior<br /> <br /> ==Websites to write your final exam paper on==<br /> The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).<br /> <br /> ==Here you can write your Final Exam Papers==<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_3 Part 3, students: 蒋凤仪 Jiang Fengyi, 解帆 Xie Fan, 雷旷溪 Lei Kuangxi, 郑华君 Zheng Huajun, 文晓艺 Wen Xiaoyi, 陶冶 Tao Ye, 孔亚楠 Kong Yanan, 陈江宁 Chen Jiangning, 杨晨婷 Yang Chenting, 康灵凤 Kang Lingfeng，杨逸 Yang Yi, 马淑雅 Ma Shuya, 雷方圆 Lei Fangyuan, 张佩闻 Zhang Peiwen, 李丽琴 Li Liqin, 张瑜 Zhang Yu, 刘怡瑜 Liu Yiyu, 李梦 Li Meng, 林鑫 Lin Xin, 罗维嘉 Luo Weijia, 漆凯 Qi Kai, 郭露 Guo Lu，张宇星 Zhang Yuxing, 陈涵 Chen Han, 李丽丽 Li Lili, 刘柳 Liu Liu, 陈莎 Chen Sha, 徐梦蝶 Xu Mengdie,彭丹 Peng Dan， 莫南 Mo Nan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_4 Part 4, students: 杨海容 Yang Hairong，游雨婷 You Yuting，王源 Wang Yuan，徐佳 Xu Jia，凌子瑾 Ling Zijin，石迪文 Shi Diwen，张玲 Zhang Ling，曾心媛 Zeng Xinyuan，姚诚 Yao Cheng，朱旭 Zhu Xu，许鹏飞 Xu Pengfei，赵晓燕 Zhao Xiaoyan，张琪 Zhang Qi，周园曲 Zhou Yuanqu, 全美欣 Quan Meixin，何长琦 He Changqi，刘博 Liu Bo，刘金惺琦 liu Jinxingqi，谌孙福 Chen Sunfu，曾芳缘 Zeng Fangyuan，肖婷 Xiao Ting，常慧月 Chang Huiyue，彭娟 Peng Juan，彭小玲 Peng Xiaoling，杨悦 Yang Yue，肖双玲 Xiao Shuangling，彭育志 Peng Yuzhi]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_5 Part 5, students: 李玉 Li Yu，林敏 Lin Min，孟莹 Meng Ying，文偲荇 Wen Sixing， 周诗卿 Zhou Shiqing，朱素瑶 Zhu Suyao，胡百辉 Hu Baihui，马智星 Ma Zhixing, 胡瑾 Hu Jin，张毓婕 Zhang Yujie，顾东方 Gu Dongfang，高明珠 Gao Mingzhu，张虎 Zhang Hu，袁诗琦 Yuan Shiqi，王美玲 Wang Meiling，康浩宇 Kang Haoyu，王轩 Wang Xuan，陈永相 Chen Yongxiang，莫玲 Mo Ling，袁天翼 Yuan Tianyi，欧阳静兰 Ouyang Jinglan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_6 Part 6, students:汤蓓 Tang Bei欧蓉 Ou Rong，谭星越 Tan Xingyue，周罗平 Zhou Luoping，龚钰冕 Gong Yumian， 陈惠 Chen Hui，罗雨晴 Luo Yuqing，谭鑫洁 Tan Xinjie，周思庆 Zhou Siqing，蒋淇玮 Jiang Qiwei，瞿淼 Qu Miao，韩海洋 Han Haiyang，刘金惺琦 liu jinxingqi，解帆 Xie Fan，刘洋诺 Liu Yangnuo，袁雨晨 Yuan Yuchen，邬香 Wu Xiang]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_7 Part 7, students:曾雁湖 Zeng Yanhu，邓锦霞 Deng Jinxia，姜好 Jiang Hao，管钦清 Guan Qinqing，唐铭 Tang Ming，娄灿灿 Lou Cancan，丁代凤 Ding Daifeng，苏琳 Su Lin，徐佳 Xu Jia， 刘艺 Liu Yi，李凌月 Li Lingyue，马娟 Ma Juan，吴琪 Wu Qi，姚佳 Yao Jia，李海泉 Li Haiquan，吴琼 Wu Qiong，杨子泠 Yang Ziling，林敏 Lin Min，彭锐宏 Peng Ruihong ，汤伊然 Tang Yiran，阳慧 Yang Hui，刘智伟 Liu Zhiwei]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_8 Part 8, students: 王煜 Wang Yu，方洁玲 Fang Jieling，许静 Xu Jing，周书尧 Zhou Shuyao，彭永亮 Peng Yongliang，宋建茹 Song Jianru，韦洪朗 Wei Honglang，魏亚菲 Wei Yafei，张雪仪 Zhang Xueyi，甘奉玉 Gan Fengyu，赵茜 Zhao Xi，吴恺 Wu Kai，周艺文 Zhou Yiwen，张维虹 Zhang Weihong，司妤 Si Yu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_9 Part 9, students: 易欢 Yi Huan，曾良 Zeng Liang，义子楚 Yi Zichu，欧阳玲 Ouyang Ling，石海瑶 Shi Haiyao，胡慧芳 Hu Huifang，吴一露 Wu Yilu，纪甜甜 Ji Tiantian, 桂一枝 Gui Yizhi，刘欧 Liu Ou，祝美梅 Zhu Meimei，谭媛媛 Tan Yuanyuan，张银柳 Zhang Yinliu，李泳珊 Li Yongshan，聂晓楼 Nie Xiaolou]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_10 Part 10, students:陈静静 Chen Jingjing， Thuy Hien Nguyen Thuy Hien，肖茜 Xiao Xi，余妮 Yu Ni，韩宛真 Han Wanzhen，陈佳欣 Chen Jiaxin，成于思 Cheng Yusi，方洁玲 Fang Jieling，张慧 Zhang Hui，吴子佳 Wu Zijia，孔祥慧 Kong Xianghui，李璐伊 Li Luyi，许晶 Xu Jing，周玉娟 Zhou Yujuan，邹鑫雨 Zou Xinyu，曹润鑫 Cao Runxin，肖伊宁 Xiao Yining, Sagara Seydou3]<br /> <br /> =Benefits=<br /> This course is registered as a &quot;EU Expert&quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=Introduction_to_Translation_Studies&diff=112416 2020-12-14T10:37:29Z

<p>Sagara Seydou 3: /* Here you can write your Final Exam Papers */</p> <hr /> <div>[[Media: Nida's Functional Equivalence Theory.docx]]Quicklinks: [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual]<br /> <br /> Welcome to our course website '''Introduction to Translation Studies'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is welcome!<br /> <br /> 欢迎访问我们“翻译导论课”的网页。…………<br /> <br /> =Organizational Things=<br /> *Please register for the Course Wiki.<br /> *Please prepare each session during the week before, so that you come prepared to class.<br /> <br /> Welcome Message on WeChat: 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、20级、方向）就好。Welcome to our course. I am excited to meet you on Monday online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). First, there are some organizational things to get everybody joining the class.<br /> In preparation, please register with our course wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TS_INTRO and edit the contents. You need to edit the course website every week to prepare the upcoming session. <br /> Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.<br /> <br /> =Edits=<br /> Every student is required to edit something every week. This can be:<br /> * Translate any English paragraph on this website from English to Chinese.<br /> * Correct an earlier translation.<br /> * Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.<br /> <br /> =Material=<br /> Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.<br /> <br /> *Bassnett, Susan. Translation studies. Routledge, 2013<br /> *Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 <br /> *Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.<br /> *Chen, Fukang. &quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&quot; (1992).<br /> *Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.<br /> *Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.<br /> *Huang, Chending黄振定. &quot;文学翻译评价的科学性及其科学论.&quot; 外国语 4 (1999): 49-56.<br /> *Huang, Chending 黄振定. &quot;翻译学是一门人文科学.&quot; 外语与外语教学 2 (1999): 33-35.<br /> *Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008<br /> *Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.<br /> *Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013<br /> *Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.<br /> *Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.<br /> *Pan Wenguo 潘文国. &quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&quot; 中国翻译 23.1 (2002): 31-34.<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> *Toury, Gideon. &quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&quot; Amsterdam/Philadelphia (1995).<br /> *Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.<br /> *Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Zhao, Wei 赵巍. &quot;翻译学学科性质与研究方法反思.&quot; 解放军外国语学院学报 28.6 (2005): 69-72.<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> '''Which paper or book should I read to prepare my presentation?'''<br /> <br /> Recommendations:<br /> <br /> Topic Book/Paper<br /> <br /> 1 Introduction <br /> <br /> 2 Emergence<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> <br /> 3a History of Translation <br /> *3a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.<br /> *3b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.<br /> *3c History of Chinese Translation Theories *陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.<br /> <br /> 4 Early understanding <br /> *Holmes, James. 1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam: Rodopi, 1988: 67-80.<br /> *Sourcebook Bassnett, Susan and Andre Lefevere. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, <br /> 1990.<br /> *Early linguistic theory Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.<br /> *Early important understanding Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.<br /> <br /> 5 Translation Studies<br /> *5a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. <br /> * 5b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.<br /> *5c Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.<br /> *5d Contemp. West. theories 廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.<br /> <br /> 6 Translation Theories<br /> * 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.<br /> *6a Methods Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.<br /> *6b Style 刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.<br /> *6c Translation Studies 许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.<br /> *6d TS 谭载喜. 翻译学[M]. 武汉：湖北教育出版社，2000年.<br /> <br /> 7 Theory and Practise <br /> *7a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.<br /> *7b Theory and Practise Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.<br /> *7c Textbook Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.<br /> *7d Theory and practice Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.<br /> *7e Translation Basics 刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.<br /> <br /> 8<br /> *8a “descriptive” Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia: John BenjaminB Publishing company, 1995.<br /> *8b Culture Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.<br /> *8c Invisibility Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.<br /> *8d Constructivism Research 易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.<br /> <br /> 9 Theories<br /> *9a East-West comparison 刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.<br /> *9b English-Chinese TS 蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.<br /> <br /> =Main class project=<br /> Please help to edit the publication [[History of Translation Studies]].<br /> <br /> =Schedule=<br /> '''All sessions''': 1 9/21 Organizational things, 2 Emergence, 3 History, 4 Development, 5 Early literary examples, 6 early theories, 7 (Western) Theories, 8 Methods, 9 Style, 10 Translation Studies, 11 Theory and Practice, 12 Different Aspects, 13 East West comparison, 14 Strategies, 15 Contemporary Translation Theories, 16 Final Discussion <br /> <br /> ==1st Session==<br /> Introduction to the course. Organizational things. Working with the Wiki.<br /> <br /> === Homework from Session 1 due on Sep 27, 2020 ===<br /> <br /> 1. Every student should translate 1 sentence of a paper on Qing Translation Policies. Here is the [[20200921_trans|homework page]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200921_trans|here]].<br /> <br /> 3. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!<br /> <br /> ===Homework for later===<br /> 4. Write a final exam paper as a chapter of the book &quot;Translation Studies&quot;. It has to be a new topic, not yet used in the book. I will upload the book here later. You can participate in writing this book.<br /> <br /> 5. Get familiar with the pdfs I send you on WeChat group as learning material.<br /> <br /> ==2nd Session: Emergence==<br /> <br /> ===Session 2, Topic 1: 人类起源 The emergence of translation and interpretation===<br /> *Handout for download [[Media:The_emergence_of_translation_and_interpretation.doc|Global Emergence of Interpretation and Translation]] by 彭锐宏<br /> *Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)<br /> <br /> ===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===<br /> *Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> *Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> <br /> ===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===<br /> *Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> *Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> <br /> ===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===<br /> *Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> *Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> <br /> ===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===<br /> 1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].<br /> <br /> ==3rd Session: History==<br /> <br /> ===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===<br /> *Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 2: 中国翻译史代表人物The Representatives in Chinese Translation History===<br /> *Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===<br /> *Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX<br /> *Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting<br /> <br /> ===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===<br /> *Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星<br /> <br /> ==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201005_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].<br /> <br /> ==Session 4: Development==<br /> <br /> ===Session 4, Topic 1: 西方翻译史 Western translation history===<br /> *Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===<br /> *Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===<br /> *Handout for download: [[Media:...docx|History of Western Translation Theory]] by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> * Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]] by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> <br /> ===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===<br /> *Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===<br /> *Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===<br /> *Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===<br /> *Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===<br /> *Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)<br /> <br /> ==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===<br /> <br /> 1. Every student should translate a short passage of a paper on the Chinese essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201012_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].<br /> <br /> 3. Take part in an online survey. The survey is currently prepared by the fellow students.<br /> <br /> ==Session 5: ==<br /> <br /> ===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===<br /> *Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining<br /> *Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei<br /> <br /> ===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===<br /> *Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)<br /> <br /> [[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)<br /> <br /> ===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===<br /> *Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen<br /> *Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi<br /> <br /> Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.<br /> <br /> ===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===<br /> *Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu<br /> <br /> ===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===<br /> *Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)<br /> <br /> ===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===<br /> *Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)<br /> <br /> ==Session 6: Early Theories==<br /> <br /> <br /> <br /> ==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201019_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].<br /> <br /> ===Session 6, Topic 1: 巴斯奈特文化翻译观 The Cultural Translation Theory of Bassnett===<br /> <br /> Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie<br /> <br /> ===Session 6, Topic 2: 中国早期代表性佛经翻译理论 Early Representative Theories of Buddhist Scriptures Translation in China===<br /> <br /> Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式 The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===<br /> <br /> Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing<br /> <br /> Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu<br /> <br /> ===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》 A Linguistic Theory of Translation of J.C.Catford===<br /> <br /> Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===<br /> Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)<br /> <br /> Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 6: 系统翻译理论的早期尝试 Early Attempts at Systematic Translation Theory===<br /> <br /> Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)<br /> <br /> =Session 7: Western theories=<br /> <br /> ===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201026_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].<br /> <br /> ===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===<br /> <br /> Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 2: 多元系统理论 Polysystem Theory===<br /> <br /> Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===<br /> <br /> Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 4： 布拉格学派 Prague School===<br /> <br /> Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 5： 目的论 Skopos Theory===<br /> <br /> Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan<br /> <br /> Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling<br /> <br /> ===Session 7, Topic 6： 语言学派 Linguistic School===<br /> <br /> Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)<br /> <br /> Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)<br /> <br /> =Session 8: Methods=<br /> <br /> ===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201102_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].<br /> <br /> ===Session 8, Topic 1： 正说反译与反说正译 Negation===<br /> Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===<br /> Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===<br /> Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===<br /> Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)<br /> Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 5： 增译与减译 Amplification and Omission===<br /> Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing<br /> <br /> ===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===<br /> Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)<br /> Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)<br /> <br /> =Session 9: Style=<br /> <br /> ===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201116_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].<br /> <br /> ===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===<br /> <br /> Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)<br /> <br /> ===Session 9, Topic2 : 科技翻译 Scientific Style===<br /> <br /> Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===<br /> <br /> Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===<br /> Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 5: 翻译与风格 Translation and Style= ==<br /> Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang<br /> <br /> Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu<br /> <br /> [[Media:Example.ogg]]<br /> <br /> =Session 10: Translation Studies=<br /> <br /> ===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201123_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].<br /> <br /> ===Session 10,Topic 1: 翻译转换 Translation Shifts===<br /> Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===<br /> Classroom presentation for download:[[Media:Decoding and Recoding.pptx]]--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:33, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Decoding and Recoding.docx]]--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 04:32, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 3: 视听翻译 Audiovisual Translation===<br /> Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC) - READ BY NIE XIAOLOU<br /> <br /> Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 4: 对钱钟书“化境说”的理论研究 The Translation Studies of Qian Zhongshu’s Theory of Huajing===<br /> [[Media:Handout-The Translation Studies of Qian Zhongshu’s theory of Huajing.docx]]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:38, 23 November 2020 (UTC)<br /> <br /> [[Media:The Translation Studies of Qian Zhongshu’s theory of Huajing.pptx]]--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 05:40, 23 November 2020 (UTC)<br /> <br /> ===Session 10, Topic 5: 英汉被动语态对比研究及其翻译策略 Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies===<br /> Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.pptx]] --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====<br /> <br /> Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Untranslatability &amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)<br /> <br /> =Session 11: Theory and Practice=<br /> <br /> ===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201130_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201130_trans|here]].<br /> <br /> ===Session 11,Topic 1: 功能对等理论对商标翻译的影响 The Effect of the Equivalence Theory on Trademark Translation===<br /> <br /> Classroom handout for download:[[Media:Handout.The Theory and Practice.docx]]--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:38, 30 November 2020 (UTC)Pengjuan<br /> <br /> Classroom presentation for download:[[Media:The Effect of the Equivalence Theory on Trademark Translation.pptx]]--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 08:08, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===<br /> <br /> Classroom handout for download：[[Media:Handout.The Practice of Foreignization and Domestication.docx]]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 01:21, 30 November 2020 (UTC)Wu Zijia<br /> <br /> Classroom presentation for download:[[Media:Translation practice in domestication and foreignization.pptx]]--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:00, 29 November 2020 (UTC)Lei Kuangxi<br /> <br /> ===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===<br /> <br /> Classroom handout for download：[[Media:Skopos Theory and its Applications.docx]]--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:08, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download：[[Media:Skopos Theory and its Applications.pptx]]--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 05:16, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation=== <br /> <br /> Classroom handout for download:[[Media:The Semantic Translation and Communicative Translation.docx]]--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 16:30, 29 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:The Semantic Translation and Communicative Translation.ppt]]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:56, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 5: 奈达的功能对等理论及其在科技文英译汉中的应用 Nida's Functional Equivalence Theory and its Application in E-C Translation of EST===<br /> <br /> Classroom handout for download：[[Media:Nida’s_Functional_Equivalence_Theory_and_its_Application_in E-C_Translation_of_EST.docx]]--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:03, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory and its Application in E-C Translation of EST.pptx]]--[[User:Zhou Yuanqu|Zhou Yuanqu]]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:25, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 6:女性主义翻译 The Feminist Translation===<br /> <br /> Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)<br /> <br /> Classroom presentation：[[Media:Feminist Translation.pptx]]<br /> <br /> =Session 12: Different Aspects=<br /> <br /> ===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201207_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201207_trans|here]].<br /> <br /> ===Session 12, Topic 1: 政论文翻译 Translation of Political Text===<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.docx]]--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:21, 4 December 2020 (UTC)<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.pptx]] By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 12:30, 4 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 2: 诗歌翻译 Poem Translation===<br /> Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)<br /> <br /> <br /> [[Media:Poem_Translation_handout.docx]] by Zhang Yujie&amp; Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 3: 旅游翻译 Tourism Translation===<br /> Classroom handout for download:[[Media:Tourism Translation.pptx]] by Tan Xinjie &amp; Wei Yafei --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei <br /> <br /> <br /> [[Media:Tourism_Translation_handout.docx]] by Tan Xinjie &amp; Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei<br /> <br /> =Session 13: East West comparison=<br /> <br /> ===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201214_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201214_trans|here]].<br /> <br /> ===Topic 1:严复和泰特勒翻译标准之对比 A Comparison between Yan Fu's and Tytler's Translation Criteria===<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.pptx]]--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:15, 14 December 2020 (UTC)Tang Ming<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.docx]]--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 06:52, 14 December 2020 (UTC)Ou Rong<br /> <br /> ===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.pptx]] by Liu Yi.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:38, 6 December 2020 (UTC)<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.doc]] by Tan Yuanyuan.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 15:47, 6 December 2020 (UTC)<br /> <br /> ===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===<br /> [[Media:Handout-The Influence of Chinese and Western Cultural Differences on Translation.doc]] by Yang Yue--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:10, 10 December 2020 (UTC)<br /> [[Media:The Influence of Chinese and Western Cultural Differences on Translation.pptx]] by Yi Zichu--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 05:01, 10 December 2020 (UTC)<br /> <br /> ===Topic 4:中国佛经翻译与圣经翻译的比较Comparison Between the translation of Buddhist scriptures of China and Bible translation===<br /> [[Media:The Comparison of the Chinese translation of Buddhist Scriptures and Bible translation.pptx]]by Xiao Ting--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:54, 13 December 2020 (UTC)Xiao Ting<br /> <br /> [[Media:The Comparison of the Chinese Translation of Buddhist Scriptures and Bible Translation.docx]]--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:07, 13 December 2020 (UTC)Xu Jia<br /> <br /> ===Topic 5:20世纪中叶以来中西翻译理论对比 Comparison of Chinese and Western translation theories since the mid-term of the 20th century===<br /> <br /> [[Media:Comparison of Chinese and Western translation theories since the mid-term of the 20th century by Mo Ling.pptx]]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:38, 11 December 2020 (UTC)Mo Ling<br /> <br /> [[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]<br /> <br /> ===Topic 6；中西思维方式差异在翻译中的体现——以习语为例 The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example===<br /> <br /> Classroom handout for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.docx]]--[[User:Chen Sha|Chen Jiangning]] --[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.pptx]] By Chen Jiangning --[[User:Chen Sha|Chen Jiangning]]--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> =Session 14: Strategies=<br /> =Session 15: Contemporary Translation Theories=<br /> =Session 16: Final Discussion=<br /> <br /> --[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:52, 30 November 2020 (UTC)<br /> <br /> ==List of topics for presentations and handouts in class==<br /> 1 Emergence: <br /> 孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源<br /> <br /> 2 History: <br /> 周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史<br /> <br /> 3 Development: <br /> 韩宛真 邓锦霞: 机器翻译的发展; 蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展<br /> <br /> 4 Early Literary Examples: <br /> 许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟<br /> <br /> 5 Early Theories: <br /> 徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试<br /> <br /> 6 (Western) Theories: <br /> 康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派<br /> <br /> 7 Methods: <br /> 甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦<br /> <br /> 8 Style: <br /> 孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳<br /> <br /> 9 Translation Studies: <br /> 罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略<br /> <br /> 10 Theory and Practice: <br /> 彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓 王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅; 阳慧 张佩闻; <br /> <br /> 11 Different Aspects: <br /> 周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; <br /> <br /> 12 East West Comparison: <br /> 唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳：中国佛经翻译和圣经翻译的比较; 莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异在翻译中的体现--以习语为例。<br /> <br /> 13 Strategies: <br /> 吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠<br /> <br /> 14 Contemporary translation Theories: <br /> Sagara Seydo Nguyen, Thuy Hien (Helen)<br /> <br /> ==List of Topics for final exam papers in Translation Studies==<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Ideas<br /> *literal vs. free<br /> *Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization<br /> *unit of translation<br /> *contrastive analysis<br /> *the equivalence problem (functional, dynamic)<br /> *translatability vs untranslatability <br /> *SLT vs TLT relation<br /> *translation types, strategies, styles, methods<br /> *communication factors, translator role in social setting<br /> *cognitive factors<br /> *machine translation<br /> *translation quality assessment<br /> *translation ethics / manipulation etc.<br /> <br /> <br /> Suggested topics for final exam papers (chapters of book on translation studies)<br /> <br /> Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.<br /> <br /> Here is the link to the list: [[Topics in Translation Studies]]<br /> <br /> =Final Exam Papers - New Deadline: Dec 21, 2020=<br /> &lt;span style=&quot;color:red&quot;&gt;The deadline has been extended to '''Dec 21, 2020'''. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until Dec 19. The author then finalizes (works in the suggestions) until the final deadline Dec 21!&lt;/span&gt;<br /> <br /> ==Tips for writing your final exam paper: How to indicate your references==<br /> *You can use the existing book chapters here as an example.<br /> *Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Do '''not''' write any references like in one of the sample chapters:<br /> <br /> [1] dsalkfkdsa<br /> <br /> [2] adsfadsfag<br /> <br /> But only the following way:<br /> <br /> (Liu Miqing 2010, 17) in the text<br /> <br /> and then<br /> <br /> '''References'''<br /> *Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学.<br /> <br /> Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):<br /> = = Topic = =<br /> &lt; c e n t e r &gt; Student Name, Student no. &lt; / c e n t e r &gt;<br /> = = = Abstract = = =<br /> This chapter is on ....<br /> = = = Key Words = = =<br /> Egg, Hen<br /> = = = 题目 = = =<br /> = = = 摘要 = = =<br /> = = = 关键词 = = =<br /> = = = Introduction = = =<br /> Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.<br /> = = = The Egg = = =<br /> Bla, bla, bla<br /> = = = The Hen = = =<br /> Bla, bla, bla<br /> = = = Conclusion = = =<br /> Bla, bla, bla<br /> = = = References = = =<br /> Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT <br /> <br /> ==Sample papers==<br /> You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with &quot;Sample paper&quot;.<br /> * A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories<br /> * An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications<br /> * Comparative Study on Functional Equivalence Theory and Skopos Theroy<br /> * Comparison of Derrida’s and Benjamin’s Translation View<br /> * Impacts of Western Translation Theories on The Translator’s Guide to Chinglish<br /> * On the Comparison between &quot;Sublimation&quot; an &quot;Functonal Equivalence&quot; Theories<br /> * Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics<br /> * The Translation of Culture-loaded Words in Chinese-English Communication<br /> * Translators' Views on Translation Influence Their Translation Behavior<br /> <br /> ==Websites to write your final exam paper on==<br /> The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).<br /> <br /> ==Here you can write your Final Exam Papers==<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_3 Part 3, students: 蒋凤仪 Jiang Fengyi, 解帆 Xie Fan, 雷旷溪 Lei Kuangxi, 郑华君 Zheng Huajun, 文晓艺 Wen Xiaoyi, 陶冶 Tao Ye, 孔亚楠 Kong Yanan, 陈江宁 Chen Jiangning, 杨晨婷 Yang Chenting, 康灵凤 Kang Lingfeng，杨逸 Yang Yi, 马淑雅 Ma Shuya, 雷方圆 Lei Fangyuan, 张佩闻 Zhang Peiwen, 李丽琴 Li Liqin, 张瑜 Zhang Yu, 刘怡瑜 Liu Yiyu, 李梦 Li Meng, 林鑫 Lin Xin, 罗维嘉 Luo Weijia, 漆凯 Qi Kai, 郭露 Guo Lu，张宇星 Zhang Yuxing, 陈涵 Chen Han, 李丽丽 Li Lili, 刘柳 Liu Liu, 陈莎 Chen Sha, 徐梦蝶 Xu Mengdie,彭丹 Peng Dan， 莫南 Mo Nan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_4 Part 4, students: 杨海容 Yang Hairong，游雨婷 You Yuting，王源 Wang Yuan，徐佳 Xu Jia，凌子瑾 Ling Zijin，石迪文 Shi Diwen，张玲 Zhang Ling，曾心媛 Zeng Xinyuan，姚诚 Yao Cheng，朱旭 Zhu Xu，许鹏飞 Xu Pengfei，赵晓燕 Zhao Xiaoyan，张琪 Zhang Qi，周园曲 Zhou Yuanqu, 全美欣 Quan Meixin，何长琦 He Changqi，刘博 Liu Bo，刘金惺琦 liu Jinxingqi，谌孙福 Chen Sunfu，曾芳缘 Zeng Fangyuan，肖婷 Xiao Ting，常慧月 Chang Huiyue，彭娟 Peng Juan，彭小玲 Peng Xiaoling，杨悦 Yang Yue，肖双玲 Xiao Shuangling，彭育志 Peng Yuzhi]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_5 Part 5, students: 李玉 Li Yu，林敏 Lin Min，孟莹 Meng Ying，文偲荇 Wen Sixing， 周诗卿 Zhou Shiqing，朱素瑶 Zhu Suyao，胡百辉 Hu Baihui，马智星 Ma Zhixing, 胡瑾 Hu Jin，张毓婕 Zhang Yujie，顾东方 Gu Dongfang，高明珠 Gao Mingzhu，张虎 Zhang Hu，袁诗琦 Yuan Shiqi，王美玲 Wang Meiling，康浩宇 Kang Haoyu，王轩 Wang Xuan，陈永相 Chen Yongxiang，莫玲 Mo Ling，袁天翼 Yuan Tianyi，欧阳静兰 Ouyang Jinglan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_6 Part 6, students:汤蓓 Tang Bei欧蓉 Ou Rong，谭星越 Tan Xingyue，周罗平 Zhou Luoping，龚钰冕 Gong Yumian， 陈惠 Chen Hui，罗雨晴 Luo Yuqing，谭鑫洁 Tan Xinjie，周思庆 Zhou Siqing，蒋淇玮 Jiang Qiwei，瞿淼 Qu Miao，韩海洋 Han Haiyang，刘金惺琦 liu jinxingqi，解帆 Xie Fan，刘洋诺 Liu Yangnuo，袁雨晨 Yuan Yuchen，邬香 Wu Xiang]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_7 Part 7, students:曾雁湖 Zeng Yanhu，邓锦霞 Deng Jinxia，姜好 Jiang Hao，管钦清 Guan Qinqing，唐铭 Tang Ming，娄灿灿 Lou Cancan，丁代凤 Ding Daifeng，苏琳 Su Lin，徐佳 Xu Jia， 刘艺 Liu Yi，李凌月 Li Lingyue，马娟 Ma Juan，吴琪 Wu Qi，姚佳 Yao Jia，李海泉 Li Haiquan，吴琼 Wu Qiong，杨子泠 Yang Ziling，林敏 Lin Min，彭锐宏 Peng Ruihong ，汤伊然 Tang Yiran，阳慧 Yang Hui，刘智伟 Liu Zhiwei]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_8 Part 8, students: 王煜 Wang Yu，方洁玲 Fang Jieling，许静 Xu Jing，周书尧 Zhou Shuyao，彭永亮 Peng Yongliang，宋建茹 Song Jianru，韦洪朗 Wei Honglang，魏亚菲 Wei Yafei，张雪仪 Zhang Xueyi，甘奉玉 Gan Fengyu，赵茜 Zhao Xi，吴恺 Wu Kai，周艺文 Zhou Yiwen，张维虹 Zhang Weihong，司妤 Si Yu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_9 Part 9, students: 易欢 Yi Huan，曾良 Zeng Liang，义子楚 Yi Zichu，欧阳玲 Ouyang Ling，石海瑶 Shi Haiyao，胡慧芳 Hu Huifang，吴一露 Wu Yilu，纪甜甜 Ji Tiantian, 桂一枝 Gui Yizhi，刘欧 Liu Ou，祝美梅 Zhu Meimei，谭媛媛 Tan Yuanyuan，张银柳 Zhang Yinliu，李泳珊 Li Yongshan，聂晓楼 Nie Xiaolou]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_10 Part 10, students:陈静静 Chen Jingjing， Thuy Hien Nguyen Thuy Hien，肖茜 Xiao Xi，余妮 Yu Ni，韩宛真 Han Wanzhen，陈佳欣 Chen Jiaxin，成于思 Cheng Yusi，方洁玲 Fang Jieling，张慧 Zhang Hui，吴子佳 Wu Zijia，孔祥慧 Kong Xianghui，李璐伊 Li Luyi，许晶 Xu Jing，周玉娟 Zhou Yujuan，邹鑫雨 Zou Xinyu，曹润鑫 Cao Runxin，肖伊宁 Xiao Yining, Sagara Seydou 3 ]<br /> <br /> =Benefits=<br /> This course is registered as a &quot;EU Expert&quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=Introduction_to_Translation_Studies&diff=112414 2020-12-14T10:31:09Z

<p>Sagara Seydou 3: /* Here you can write your Final Exam Papers */</p> <hr /> <div>[[Media: Nida's Functional Equivalence Theory.docx]]Quicklinks: [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual]<br /> <br /> Welcome to our course website '''Introduction to Translation Studies'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is welcome!<br /> <br /> 欢迎访问我们“翻译导论课”的网页。…………<br /> <br /> =Organizational Things=<br /> *Please register for the Course Wiki.<br /> *Please prepare each session during the week before, so that you come prepared to class.<br /> <br /> Welcome Message on WeChat: 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、20级、方向）就好。Welcome to our course. I am excited to meet you on Monday online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). First, there are some organizational things to get everybody joining the class.<br /> In preparation, please register with our course wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TS_INTRO and edit the contents. You need to edit the course website every week to prepare the upcoming session. <br /> Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.<br /> <br /> =Edits=<br /> Every student is required to edit something every week. This can be:<br /> * Translate any English paragraph on this website from English to Chinese.<br /> * Correct an earlier translation.<br /> * Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.<br /> <br /> =Material=<br /> Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.<br /> <br /> *Bassnett, Susan. Translation studies. Routledge, 2013<br /> *Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 <br /> *Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.<br /> *Chen, Fukang. &quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&quot; (1992).<br /> *Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.<br /> *Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.<br /> *Huang, Chending黄振定. &quot;文学翻译评价的科学性及其科学论.&quot; 外国语 4 (1999): 49-56.<br /> *Huang, Chending 黄振定. &quot;翻译学是一门人文科学.&quot; 外语与外语教学 2 (1999): 33-35.<br /> *Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008<br /> *Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.<br /> *Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013<br /> *Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.<br /> *Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.<br /> *Pan Wenguo 潘文国. &quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&quot; 中国翻译 23.1 (2002): 31-34.<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> *Toury, Gideon. &quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&quot; Amsterdam/Philadelphia (1995).<br /> *Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.<br /> *Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Zhao, Wei 赵巍. &quot;翻译学学科性质与研究方法反思.&quot; 解放军外国语学院学报 28.6 (2005): 69-72.<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> '''Which paper or book should I read to prepare my presentation?'''<br /> <br /> Recommendations:<br /> <br /> Topic Book/Paper<br /> <br /> 1 Introduction <br /> <br /> 2 Emergence<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> <br /> 3a History of Translation <br /> *3a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.<br /> *3b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.<br /> *3c History of Chinese Translation Theories *陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.<br /> <br /> 4 Early understanding <br /> *Holmes, James. 1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam: Rodopi, 1988: 67-80.<br /> *Sourcebook Bassnett, Susan and Andre Lefevere. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, <br /> 1990.<br /> *Early linguistic theory Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.<br /> *Early important understanding Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.<br /> <br /> 5 Translation Studies<br /> *5a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. <br /> * 5b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.<br /> *5c Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.<br /> *5d Contemp. West. theories 廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.<br /> <br /> 6 Translation Theories<br /> * 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.<br /> *6a Methods Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.<br /> *6b Style 刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.<br /> *6c Translation Studies 许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.<br /> *6d TS 谭载喜. 翻译学[M]. 武汉：湖北教育出版社，2000年.<br /> <br /> 7 Theory and Practise <br /> *7a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.<br /> *7b Theory and Practise Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.<br /> *7c Textbook Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.<br /> *7d Theory and practice Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.<br /> *7e Translation Basics 刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.<br /> <br /> 8<br /> *8a “descriptive” Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia: John BenjaminB Publishing company, 1995.<br /> *8b Culture Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.<br /> *8c Invisibility Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.<br /> *8d Constructivism Research 易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.<br /> <br /> 9 Theories<br /> *9a East-West comparison 刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.<br /> *9b English-Chinese TS 蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.<br /> <br /> =Main class project=<br /> Please help to edit the publication [[History of Translation Studies]].<br /> <br /> =Schedule=<br /> '''All sessions''': 1 9/21 Organizational things, 2 Emergence, 3 History, 4 Development, 5 Early literary examples, 6 early theories, 7 (Western) Theories, 8 Methods, 9 Style, 10 Translation Studies, 11 Theory and Practice, 12 Different Aspects, 13 East West comparison, 14 Strategies, 15 Contemporary Translation Theories, 16 Final Discussion <br /> <br /> ==1st Session==<br /> Introduction to the course. Organizational things. Working with the Wiki.<br /> <br /> === Homework from Session 1 due on Sep 27, 2020 ===<br /> <br /> 1. Every student should translate 1 sentence of a paper on Qing Translation Policies. Here is the [[20200921_trans|homework page]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200921_trans|here]].<br /> <br /> 3. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!<br /> <br /> ===Homework for later===<br /> 4. Write a final exam paper as a chapter of the book &quot;Translation Studies&quot;. It has to be a new topic, not yet used in the book. I will upload the book here later. You can participate in writing this book.<br /> <br /> 5. Get familiar with the pdfs I send you on WeChat group as learning material.<br /> <br /> ==2nd Session: Emergence==<br /> <br /> ===Session 2, Topic 1: 人类起源 The emergence of translation and interpretation===<br /> *Handout for download [[Media:The_emergence_of_translation_and_interpretation.doc|Global Emergence of Interpretation and Translation]] by 彭锐宏<br /> *Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)<br /> <br /> ===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===<br /> *Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> *Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> <br /> ===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===<br /> *Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> *Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> <br /> ===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===<br /> *Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> *Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> <br /> ===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===<br /> 1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].<br /> <br /> ==3rd Session: History==<br /> <br /> ===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===<br /> *Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 2: 中国翻译史代表人物The Representatives in Chinese Translation History===<br /> *Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===<br /> *Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX<br /> *Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting<br /> <br /> ===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===<br /> *Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星<br /> <br /> ==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201005_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].<br /> <br /> ==Session 4: Development==<br /> <br /> ===Session 4, Topic 1: 西方翻译史 Western translation history===<br /> *Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===<br /> *Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===<br /> *Handout for download: [[Media:...docx|History of Western Translation Theory]] by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> * Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]] by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> <br /> ===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===<br /> *Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===<br /> *Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===<br /> *Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===<br /> *Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===<br /> *Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)<br /> <br /> ==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===<br /> <br /> 1. Every student should translate a short passage of a paper on the Chinese essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201012_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].<br /> <br /> 3. Take part in an online survey. The survey is currently prepared by the fellow students.<br /> <br /> ==Session 5: ==<br /> <br /> ===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===<br /> *Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining<br /> *Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei<br /> <br /> ===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===<br /> *Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)<br /> <br /> [[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)<br /> <br /> ===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===<br /> *Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen<br /> *Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi<br /> <br /> Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.<br /> <br /> ===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===<br /> *Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu<br /> <br /> ===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===<br /> *Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)<br /> <br /> ===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===<br /> *Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)<br /> <br /> ==Session 6: Early Theories==<br /> <br /> <br /> <br /> ==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201019_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].<br /> <br /> ===Session 6, Topic 1: 巴斯奈特文化翻译观 The Cultural Translation Theory of Bassnett===<br /> <br /> Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie<br /> <br /> ===Session 6, Topic 2: 中国早期代表性佛经翻译理论 Early Representative Theories of Buddhist Scriptures Translation in China===<br /> <br /> Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式 The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===<br /> <br /> Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing<br /> <br /> Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu<br /> <br /> ===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》 A Linguistic Theory of Translation of J.C.Catford===<br /> <br /> Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===<br /> Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)<br /> <br /> Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 6: 系统翻译理论的早期尝试 Early Attempts at Systematic Translation Theory===<br /> <br /> Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)<br /> <br /> =Session 7: Western theories=<br /> <br /> ===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201026_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].<br /> <br /> ===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===<br /> <br /> Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 2: 多元系统理论 Polysystem Theory===<br /> <br /> Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===<br /> <br /> Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 4： 布拉格学派 Prague School===<br /> <br /> Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 5： 目的论 Skopos Theory===<br /> <br /> Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan<br /> <br /> Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling<br /> <br /> ===Session 7, Topic 6： 语言学派 Linguistic School===<br /> <br /> Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)<br /> <br /> Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)<br /> <br /> =Session 8: Methods=<br /> <br /> ===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201102_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].<br /> <br /> ===Session 8, Topic 1： 正说反译与反说正译 Negation===<br /> Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===<br /> Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===<br /> Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===<br /> Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)<br /> Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 5： 增译与减译 Amplification and Omission===<br /> Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing<br /> <br /> ===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===<br /> Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)<br /> Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)<br /> <br /> =Session 9: Style=<br /> <br /> ===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201116_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].<br /> <br /> ===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===<br /> <br /> Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)<br /> <br /> ===Session 9, Topic2 : 科技翻译 Scientific Style===<br /> <br /> Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===<br /> <br /> Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===<br /> Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 5: 翻译与风格 Translation and Style= ==<br /> Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang<br /> <br /> Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu<br /> <br /> [[Media:Example.ogg]]<br /> <br /> =Session 10: Translation Studies=<br /> <br /> ===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201123_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].<br /> <br /> ===Session 10,Topic 1: 翻译转换 Translation Shifts===<br /> Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===<br /> Classroom presentation for download:[[Media:Decoding and Recoding.pptx]]--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:33, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Decoding and Recoding.docx]]--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 04:32, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 3: 视听翻译 Audiovisual Translation===<br /> Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC) - READ BY NIE XIAOLOU<br /> <br /> Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 4: 对钱钟书“化境说”的理论研究 The Translation Studies of Qian Zhongshu’s Theory of Huajing===<br /> [[Media:Handout-The Translation Studies of Qian Zhongshu’s theory of Huajing.docx]]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:38, 23 November 2020 (UTC)<br /> <br /> [[Media:The Translation Studies of Qian Zhongshu’s theory of Huajing.pptx]]--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 05:40, 23 November 2020 (UTC)<br /> <br /> ===Session 10, Topic 5: 英汉被动语态对比研究及其翻译策略 Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies===<br /> Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.pptx]] --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====<br /> <br /> Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Untranslatability &amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)<br /> <br /> =Session 11: Theory and Practice=<br /> <br /> ===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201130_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201130_trans|here]].<br /> <br /> ===Session 11,Topic 1: 功能对等理论对商标翻译的影响 The Effect of the Equivalence Theory on Trademark Translation===<br /> <br /> Classroom handout for download:[[Media:Handout.The Theory and Practice.docx]]--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:38, 30 November 2020 (UTC)Pengjuan<br /> <br /> Classroom presentation for download:[[Media:The Effect of the Equivalence Theory on Trademark Translation.pptx]]--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 08:08, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===<br /> <br /> Classroom handout for download：[[Media:Handout.The Practice of Foreignization and Domestication.docx]]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 01:21, 30 November 2020 (UTC)Wu Zijia<br /> <br /> Classroom presentation for download:[[Media:Translation practice in domestication and foreignization.pptx]]--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:00, 29 November 2020 (UTC)Lei Kuangxi<br /> <br /> ===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===<br /> <br /> Classroom handout for download：[[Media:Skopos Theory and its Applications.docx]]--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:08, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download：[[Media:Skopos Theory and its Applications.pptx]]--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 05:16, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation=== <br /> <br /> Classroom handout for download:[[Media:The Semantic Translation and Communicative Translation.docx]]--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 16:30, 29 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:The Semantic Translation and Communicative Translation.ppt]]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:56, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 5: 奈达的功能对等理论及其在科技文英译汉中的应用 Nida's Functional Equivalence Theory and its Application in E-C Translation of EST===<br /> <br /> Classroom handout for download：[[Media:Nida’s_Functional_Equivalence_Theory_and_its_Application_in E-C_Translation_of_EST.docx]]--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:03, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory and its Application in E-C Translation of EST.pptx]]--[[User:Zhou Yuanqu|Zhou Yuanqu]]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:25, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 6:女性主义翻译 The Feminist Translation===<br /> <br /> Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)<br /> <br /> Classroom presentation：[[Media:Feminist Translation.pptx]]<br /> <br /> =Session 12: Different Aspects=<br /> <br /> ===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201207_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201207_trans|here]].<br /> <br /> ===Session 12, Topic 1: 政论文翻译 Translation of Political Text===<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.docx]]--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:21, 4 December 2020 (UTC)<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.pptx]] By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 12:30, 4 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 2: 诗歌翻译 Poem Translation===<br /> Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)<br /> <br /> <br /> [[Media:Poem_Translation_handout.docx]] by Zhang Yujie&amp; Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 3: 旅游翻译 Tourism Translation===<br /> Classroom handout for download:[[Media:Tourism Translation.pptx]] by Tan Xinjie &amp; Wei Yafei --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei <br /> <br /> <br /> [[Media:Tourism_Translation_handout.docx]] by Tan Xinjie &amp; Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei<br /> <br /> =Session 13: East West comparison=<br /> <br /> ===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201214_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201214_trans|here]].<br /> <br /> ===Topic 1:严复和泰特勒翻译标准之对比 A Comparison between Yan Fu's and Tytler's Translation Criteria===<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.pptx]]--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:15, 14 December 2020 (UTC)Tang Ming<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.docx]]--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 06:52, 14 December 2020 (UTC)Ou Rong<br /> <br /> ===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.pptx]] by Liu Yi.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:38, 6 December 2020 (UTC)<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.doc]] by Tan Yuanyuan.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 15:47, 6 December 2020 (UTC)<br /> <br /> ===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===<br /> [[Media:Handout-The Influence of Chinese and Western Cultural Differences on Translation.doc]] by Yang Yue--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:10, 10 December 2020 (UTC)<br /> [[Media:The Influence of Chinese and Western Cultural Differences on Translation.pptx]] by Yi Zichu--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 05:01, 10 December 2020 (UTC)<br /> <br /> ===Topic 4:中国佛经翻译与圣经翻译的比较Comparison Between the translation of Buddhist scriptures of China and Bible translation===<br /> [[Media:The Comparison of the Chinese translation of Buddhist Scriptures and Bible translation.pptx]]by Xiao Ting--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:54, 13 December 2020 (UTC)Xiao Ting<br /> <br /> [[Media:The Comparison of the Chinese Translation of Buddhist Scriptures and Bible Translation.docx]]--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:07, 13 December 2020 (UTC)Xu Jia<br /> <br /> ===Topic 5:20世纪中叶以来中西翻译理论对比 Comparison of Chinese and Western translation theories since the mid-term of the 20th century===<br /> <br /> [[Media:Comparison of Chinese and Western translation theories since the mid-term of the 20th century by Mo Ling.pptx]]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:38, 11 December 2020 (UTC)Mo Ling<br /> <br /> [[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]<br /> <br /> ===Topic 6；中西思维方式差异在翻译中的体现——以习语为例 The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example===<br /> <br /> Classroom handout for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.docx]]--[[User:Chen Sha|Chen Jiangning]] --[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.pptx]] By Chen Jiangning --[[User:Chen Sha|Chen Jiangning]]--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> =Session 14: Strategies=<br /> =Session 15: Contemporary Translation Theories=<br /> =Session 16: Final Discussion=<br /> <br /> --[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:52, 30 November 2020 (UTC)<br /> <br /> ==List of topics for presentations and handouts in class==<br /> 1 Emergence: <br /> 孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源<br /> <br /> 2 History: <br /> 周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史<br /> <br /> 3 Development: <br /> 韩宛真 邓锦霞: 机器翻译的发展; 蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展<br /> <br /> 4 Early Literary Examples: <br /> 许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟<br /> <br /> 5 Early Theories: <br /> 徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试<br /> <br /> 6 (Western) Theories: <br /> 康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派<br /> <br /> 7 Methods: <br /> 甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦<br /> <br /> 8 Style: <br /> 孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳<br /> <br /> 9 Translation Studies: <br /> 罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略<br /> <br /> 10 Theory and Practice: <br /> 彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓 王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅; 阳慧 张佩闻; <br /> <br /> 11 Different Aspects: <br /> 周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; <br /> <br /> 12 East West Comparison: <br /> 唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳：中国佛经翻译和圣经翻译的比较; 莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异在翻译中的体现--以习语为例。<br /> <br /> 13 Strategies: <br /> 吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠<br /> <br /> 14 Contemporary translation Theories: <br /> Sagara Seydo Nguyen, Thuy Hien (Helen)<br /> <br /> ==List of Topics for final exam papers in Translation Studies==<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Ideas<br /> *literal vs. free<br /> *Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization<br /> *unit of translation<br /> *contrastive analysis<br /> *the equivalence problem (functional, dynamic)<br /> *translatability vs untranslatability <br /> *SLT vs TLT relation<br /> *translation types, strategies, styles, methods<br /> *communication factors, translator role in social setting<br /> *cognitive factors<br /> *machine translation<br /> *translation quality assessment<br /> *translation ethics / manipulation etc.<br /> <br /> <br /> Suggested topics for final exam papers (chapters of book on translation studies)<br /> <br /> Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.<br /> <br /> Here is the link to the list: [[Topics in Translation Studies]]<br /> <br /> =Final Exam Papers - New Deadline: Dec 21, 2020=<br /> &lt;span style=&quot;color:red&quot;&gt;The deadline has been extended to '''Dec 21, 2020'''. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until Dec 19. The author then finalizes (works in the suggestions) until the final deadline Dec 21!&lt;/span&gt;<br /> <br /> ==Tips for writing your final exam paper: How to indicate your references==<br /> *You can use the existing book chapters here as an example.<br /> *Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Do '''not''' write any references like in one of the sample chapters:<br /> <br /> [1] dsalkfkdsa<br /> <br /> [2] adsfadsfag<br /> <br /> But only the following way:<br /> <br /> (Liu Miqing 2010, 17) in the text<br /> <br /> and then<br /> <br /> '''References'''<br /> *Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学.<br /> <br /> Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):<br /> = = Topic = =<br /> &lt; c e n t e r &gt; Student Name, Student no. &lt; / c e n t e r &gt;<br /> = = = Abstract = = =<br /> This chapter is on ....<br /> = = = Key Words = = =<br /> Egg, Hen<br /> = = = 题目 = = =<br /> = = = 摘要 = = =<br /> = = = 关键词 = = =<br /> = = = Introduction = = =<br /> Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.<br /> = = = The Egg = = =<br /> Bla, bla, bla<br /> = = = The Hen = = =<br /> Bla, bla, bla<br /> = = = Conclusion = = =<br /> Bla, bla, bla<br /> = = = References = = =<br /> Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT <br /> <br /> ==Sample papers==<br /> You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with &quot;Sample paper&quot;.<br /> * A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories<br /> * An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications<br /> * Comparative Study on Functional Equivalence Theory and Skopos Theroy<br /> * Comparison of Derrida’s and Benjamin’s Translation View<br /> * Impacts of Western Translation Theories on The Translator’s Guide to Chinglish<br /> * On the Comparison between &quot;Sublimation&quot; an &quot;Functonal Equivalence&quot; Theories<br /> * Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics<br /> * The Translation of Culture-loaded Words in Chinese-English Communication<br /> * Translators' Views on Translation Influence Their Translation Behavior<br /> <br /> ==Websites to write your final exam paper on==<br /> The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).<br /> <br /> ==Here you can write your Final Exam Papers==<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_3 Part 3, students: 蒋凤仪 Jiang Fengyi, 解帆 Xie Fan, 雷旷溪 Lei Kuangxi, 郑华君 Zheng Huajun, 文晓艺 Wen Xiaoyi, 陶冶 Tao Ye, 孔亚楠 Kong Yanan, 陈江宁 Chen Jiangning, 杨晨婷 Yang Chenting, 康灵凤 Kang Lingfeng，杨逸 Yang Yi, 马淑雅 Ma Shuya, 雷方圆 Lei Fangyuan, 张佩闻 Zhang Peiwen, 李丽琴 Li Liqin, 张瑜 Zhang Yu, 刘怡瑜 Liu Yiyu, 李梦 Li Meng, 林鑫 Lin Xin, 罗维嘉 Luo Weijia, 漆凯 Qi Kai, 郭露 Guo Lu，张宇星 Zhang Yuxing, 陈涵 Chen Han, 李丽丽 Li Lili, 刘柳 Liu Liu, 陈莎 Chen Sha, 徐梦蝶 Xu Mengdie,彭丹 Peng Dan， 莫南 Mo Nan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_4 Part 4, students: 杨海容 Yang Hairong，游雨婷 You Yuting，王源 Wang Yuan，徐佳 Xu Jia，凌子瑾 Ling Zijin，石迪文 Shi Diwen，张玲 Zhang Ling，曾心媛 Zeng Xinyuan，姚诚 Yao Cheng，朱旭 Zhu Xu，许鹏飞 Xu Pengfei，赵晓燕 Zhao Xiaoyan，张琪 Zhang Qi，周园曲 Zhou Yuanqu, 全美欣 Quan Meixin，何长琦 He Changqi，刘博 Liu Bo，刘金惺琦 liu Jinxingqi，谌孙福 Chen Sunfu，曾芳缘 Zeng Fangyuan，肖婷 Xiao Ting，常慧月 Chang Huiyue，彭娟 Peng Juan，彭小玲 Peng Xiaoling，杨悦 Yang Yue，肖双玲 Xiao Shuangling，彭育志 Peng Yuzhi]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_5 Part 5, students: 李玉 Li Yu，林敏 Lin Min，孟莹 Meng Ying，文偲荇 Wen Sixing， 周诗卿 Zhou Shiqing，朱素瑶 Zhu Suyao，胡百辉 Hu Baihui，马智星 Ma Zhixing, 胡瑾 Hu Jin，张毓婕 Zhang Yujie，顾东方 Gu Dongfang，高明珠 Gao Mingzhu，张虎 Zhang Hu，袁诗琦 Yuan Shiqi，王美玲 Wang Meiling，康浩宇 Kang Haoyu，王轩 Wang Xuan，陈永相 Chen Yongxiang，莫玲 Mo Ling，袁天翼 Yuan Tianyi，欧阳静兰 Ouyang Jinglan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_6 Part 6, students:汤蓓 Tang Bei欧蓉 Ou Rong，谭星越 Tan Xingyue，周罗平 Zhou Luoping，龚钰冕 Gong Yumian， 陈惠 Chen Hui，罗雨晴 Luo Yuqing，谭鑫洁 Tan Xinjie，周思庆 Zhou Siqing，蒋淇玮 Jiang Qiwei，瞿淼 Qu Miao，韩海洋 Han Haiyang，刘金惺琦 liu jinxingqi，解帆 Xie Fan，刘洋诺 Liu Yangnuo，袁雨晨 Yuan Yuchen，邬香 Wu Xiang]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_7 Part 7, students:曾雁湖 Zeng Yanhu，邓锦霞 Deng Jinxia，姜好 Jiang Hao，管钦清 Guan Qinqing，唐铭 Tang Ming，娄灿灿 Lou Cancan，丁代凤 Ding Daifeng，苏琳 Su Lin，徐佳 Xu Jia， 刘艺 Liu Yi，李凌月 Li Lingyue，马娟 Ma Juan，吴琪 Wu Qi，姚佳 Yao Jia，李海泉 Li Haiquan，吴琼 Wu Qiong，杨子泠 Yang Ziling，林敏 Lin Min，彭锐宏 Peng Ruihong ，汤伊然 Tang Yiran，阳慧 Yang Hui，刘智伟 Liu Zhiwei]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_8 Part 8, students: 王煜 Wang Yu，方洁玲 Fang Jieling，许静 Xu Jing，周书尧 Zhou Shuyao，彭永亮 Peng Yongliang，宋建茹 Song Jianru，韦洪朗 Wei Honglang，魏亚菲 Wei Yafei，张雪仪 Zhang Xueyi，甘奉玉 Gan Fengyu，赵茜 Zhao Xi，吴恺 Wu Kai，周艺文 Zhou Yiwen，张维虹 Zhang Weihong，司妤 Si Yu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_9 Part 9, students: 易欢 Yi Huan，曾良 Zeng Liang，义子楚 Yi Zichu，欧阳玲 Ouyang Ling，石海瑶 Shi Haiyao，胡慧芳 Hu Huifang，吴一露 Wu Yilu，纪甜甜 Ji Tiantian, 桂一枝 Gui Yizhi，刘欧 Liu Ou，祝美梅 Zhu Meimei，谭媛媛 Tan Yuanyuan，张银柳 Zhang Yinliu，李泳珊 Li Yongshan，聂晓楼 Nie Xiaolou]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_10 Part 10, students:陈静静 Chen Jingjing， Thuy Hien Nguyen Thuy Hien，肖茜 Xiao Xi，余妮 Yu Ni，韩宛真 Han Wanzhen，陈佳欣 Chen Jiaxin，成于思 Cheng Yusi，方洁玲 Fang Jieling，张慧 Zhang Hui，吴子佳 Wu Zijia，孔祥慧 Kong Xianghui，李璐伊 Li Luyi，许晶 Xu Jing，周玉娟 Zhou Yujuan，邹鑫雨 Zou Xinyu，曹润鑫 Cao Runxin，肖伊宁 Xiao Yining, Sagara Seydou]<br /> <br /> =Benefits=<br /> This course is registered as a &quot;EU Expert&quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=111638 2020-12-13T13:59:53Z

<p>Sagara Seydou 3: /* Language policy */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==Landscape, The Ancient Tea Horse Road - Lei Fangyuan 雷方圆==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.(Baidu Baike)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> <br /> 2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.((Baidu Baike)<br /> <br /> 3. the ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.(Baidu Baike)<br /> <br /> 4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.(Baidu Baike)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. <br /> <br /> Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.<br /> <br /> Shanxi- Tibet tea horse road (wade ancient road), was formed in the Han dynasty through the efforts of the Shanxi merchants and the ancient southwest border tea and horse. During the Ming and Qing dynasties, the government controlled tea traffickin along the tea trafficking sub-region, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:02, 7 December 2020 (UTC)Li Lili<br /> <br /> ====Historical Value====<br /> The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.(Baidu Baike)<br /> <br /> 1.The Golden Road of Tourism<br /> <br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.(Baidu Baike)<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> <br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Baidu Baike)<br /> <br /> 3.Migration Corridor of National Cultures<br /> <br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.(Baidu Baike)<br /> <br /> 4.Religious Propagation Road<br /> <br /> With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.(Baidu Baike)<br /> <br /> 5. The Path of National Spirituality<br /> <br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Baidu Baike)<br /> 6.The Road of National Unity and Integration<br /> <br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.(Baidu Baike)<br /> <br /> 7.The Road of Securing the Borders<br /> <br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.(Baidu Baike)<br /> <br /> 8.The road to economic development<br /> <br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Baidu Baike)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 03:42, 29 November 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?<br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> The Chinese text rooted in Baidu Baike. The website as following:https://baike.baidu.com.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:15, 8 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Puppets - Li Lili 李丽丽==<br /> ===Shadow Puppets Li Lili No.202070080594===<br /> ====The Origin of Shadow Play====<br /> Shadow play has a history of more than 2000 years from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid. So he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story written in Hanshu is considered to be the earliest origin of shadow play. There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development in Bianjing of the Northern Song Dynasty is closely related to Bianjing’s superior geographical environment, the development of commodity trade and commercial transportation at that time.(Wei Liqun 2018,13-14)<br /> <br /> ====Introduction====<br /> More than 2,000 years ago, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks” , “waving a sword and a spear, ” or even “smoking ”by puppeteer holding and moving manipulating rods on its body. Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc.(Wang Yexia 2012,1-3)<br /> <br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. The “head” is the most important part of a shadow puppet and its total component number is about four times that of the “body”. A shadow puppet’s “head”. And the “body” can be mixed and matched with each other. (Wang Yexia 2012,29-33)<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged person are short beard, but the elderly man are long beard. The decorative designs on the shadow puppets are very important and match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character. The black is a sign of a just, honest and selfless personality. The yellow shows a brave and irascible character, also are used in fantasy plays to represent people with magic power. To make a shadow puppet move flexibly, a complete figure often has many components such as a head, a chest,a belly, two legs, two arms, two elbows, two hands. (Wang Yexia 2012,9-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to work. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. After the end of the &quot;Cultural Revolution&quot;, shadow puppet art recovered rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation of the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.<br /> <br /> ===References：===<br /> 王业霞 《皮影戏》 北京：高等教育出版社 2012 Wang Yexia [Shadow Play] Beijing: [Higher Education Publishing House] 2012<br /> <br /> 魏力群 《小书大传承-皮影》 重庆：重庆出版社 2018 Wei Liqun [&quot;Small Book, Big Heritage - Shadow Play&quot;] Chongqing: [Chongqing Publishing House] 2018<br /> <br /> 朱恒夫 中国皮影戏的历史，现状与剧目特征[J] 浙江艺术职业学院学报 2020(18) Zhu [Hengfu The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre][J] [Journal of Zhejiang Arts Vocational College] 2020(18)<br /> <br /> ===Words and Expressions===<br /> shadow puppet皮影戏 <br /> paper cutting 剪纸<br /> ventriloquism 口技<br /> manipulating rod 操纵杆<br /> five facial features 五官<br /> sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> Cultural Revolution 文化大革命<br /> intangible cultural heritage 非物质文化遗产<br /> <br /> <br /> ===Questions===<br /> 1.When is the earliest shadow puppet’s record?<br /> <br /> 2.What art of forms do shadow play use?<br /> <br /> 3. What does a red head stand for in a play?<br /> <br /> 4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> <br /> ===Answers===<br /> 1.Song dynasty.<br /> <br /> 2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> <br /> 3.The red is symbol of a heroic and upstanding character.<br /> <br /> 4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴==<br /> <br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. <br /> <br /> However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. <br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; (Li Xiaoyu 2010, 33) the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. (Tan Su 2012, 68) &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society.<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization.<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. (Li Chengzong 2002, 67) On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. <br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. (Wang Jie 2004, 82-83) Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves.<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83) <br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication.<br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. <br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. <br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. <br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. <br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. <br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House.<br /> <br /> ==Ch'ien Chung-shu Liu Liu 刘柳， 202070080596==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:00, 13 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ===相声 Cross Talk===<br /> <br /> ===The History of Cross Talk===<br /> <br /> Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate other's voices, also known as neighboring cross talk. It was evolved and further developed from the folk music in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng （1850—1861）and Emperor Tongzhi（1861—1874）period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 06:33, 23 November 2020 (UTC)<br /> <br /> ===Famous Artists of Cross Talk===<br /> <br /> ===Answers===<br /> ===References===<br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.<br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded. Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular. The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Cho Chikun (1997). Go: A Complete Introduction to the Game. Tokyo: Kiseido Publishers. ISBN 978-4-906574-50-6.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> [6]百度百科：围棋<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.” History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. (Fan Jinshi 2010，170)The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. <br /> <br /> After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96.( Fan Jinshi 2010, 175) In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting. <br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University兰州大学.<br /> <br /> MA Shichang.(2010).Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang.MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].中原文物 Cultural Relics in Central Plain,No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-level Cultural Relics Luo Weijia罗维嘉 Student No.202070080600==<br /> <br /> ===Four State-level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.<br /> <br /> ====Houmuwu Ding====<br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority. For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment.<br /> <br /> Simuwu Ding,or Houmuwu Ding, was a very precious cultural relic, found in 1937 in Anyang of Henan Province (Zhang Peng:86-89).It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing. <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices. <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Zhang Peng:86-89).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties.<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound.<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum(Gao Nan:29). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg (Gao Nan:29). It is extremely rare tosee a set with so many bells of such weight and size. <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen:1-2). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music. <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”.<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread.<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen:38-39). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen:38-39). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure.<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian:10-11). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers. <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum.<br /> <br /> ===Terms and Expressions===<br /> <br /> Houmuwu Ding 后母戊鼎<br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> [1]Zhang Peng 张鹏.(2020).青铜大师杜廼松:“司母戊鼎”名称不容置疑[No Doubt about the Name of Simuwu Ding].中国民族博览 (09):86-89.<br /> <br /> [2]Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi].文史知识 (11):1-2.<br /> <br /> [3]Gao Nan 高楠.(2020).音乐中的国家宝藏——曾侯乙编钟[National Treasure in Music].琴童 (01):29.<br /> <br /> [4]Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 [The Study of Jade Suit with Gold Thread Unearthed in Mancheng].文物鉴定与鉴赏 (03):38-39.<br /> <br /> [5]Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Sculpture ——the Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> == The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panaroma view of the Forbidden City.jpg|300px|thumb|left|A Panaroma view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.<br /> <br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper.<br /> After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Chinese Clothing== Phyo, Su Kyi, Student No-20191108000<br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.“Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press,2016.<br /> <br /> <br /> 2.Mei Hua, `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress2010<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> <br /> ===Chinese Traditional women clothing===<br /> <br /> ===1- History of Chinese clothing===<br /> <br /> History of Chinese clothing China has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization.<br /> <br /> ===A- Chinese Clothing during Qin and Han Dynasties (221 B.C - 220 A.D)===<br /> <br /> The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established many social systems, including one for uniforms to distinguish people's ranks and social positions. China's complete code of costume and trappings was established in the Han Dynasty (206BC-220AD). The yarn-dyeing, embroidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.<br /> <br /> ===B-Chinese Clothing during Wei,Jin, South and North Dynasties(220-589)===<br /> <br /> Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589). Before 265, the cultures and esthetic views of the peoples in north and south China merged because of the moves initiated by frequent wars. Many philosophical schools of thought influenced both people's lives and the conceptions of clothing design.<br /> <br /> ===C- Chinese Clothing during Tang Dynasty(618-907)===<br /> <br /> The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.<br /> <br /> ===D-Chinese Clothing during Song, Yuan, Ming Dynasties===<br /> <br /> Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and elegant.During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the People on Horseback, was in power. The style of clothing was mainly a combination of Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in design.Dramatic changes took place during the Ming Dynasty (1368-1644). A new conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.<br /> <br /> ===E- Chinese Clothing during Qing Dynasty===<br /> <br /> During the Qing Dynasty (1644-1911), clothes became elegant, poised, and glorious. During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious heritage for traditional Chinese clothes.<br /> <br /> ===F-Chinese Clothing from 1930s till Modern Era===<br /> <br /> Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to 1960s, Qipao(Cheongsam) survives as everyday wear in Hong Kong until the late 1960s. <br /> <br /> ===Terms and Expressions=== <br /> <br /> ===Questions=== <br /> <br /> ===References===.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 17:37, 25 November 2020 (UTC)Phyo Su Kyi<br /> <br /> ===Answers===<br /> <br /> ===References===--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 04:45, 13 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604==<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore, drinking vessels as part of the liquor culture also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康 <br /> 2.Chinese Dionysus 中国酒神<br /> 3.husked sorghum rice 秫米饭 <br /> 4.Baishui 白水县（陕西渭南市辖县） <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县） <br /> 6.fermented wine 发酵酒<br /> 7.Distilled liquor 蒸馏酒 <br /> 8.Yellow rice wine 黄酒<br /> 9.Shaoxing Wine 绍兴酒 <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> 11.Mellow Wine 醇香酒 <br /> 12.Dongwu Rice Wine 东吴老酒<br /> 13.Liquor and Spirits 白酒 <br /> 14.Kweichow Moutai 贵州茅台<br /> 15.sauce-flavor type 酱香型 <br /> 16.light flavor type 清香型 <br /> 17.strong flavor type 浓香型 <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> 19.the Peiligang culture period裴李岗文化时期 <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> 21.Zun 樽 <br /> 22.injection vessel and bowl 注子和注碗<br /> 23.drinking order 行酒令<br /> <br /> ====Questions====<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> China Railway High-Speed ​​(CRH) is a high-speed rail service operated by the China Railway. The introduction of the CRH series was an important part of the 6th National Rail Acceleration, which took place on April 18, 2007. By the end of 2018, China Railway High Speed ​​served all provinces in China except Taiwan and covered over 29,000 km. (18,000 miles) the length of passenger routes, which make up about two-thirds of the world's high-speed rail routes served by commercial enterprises. It is the most widely used rail transport in the world, with 1.713 billion flights in 2017, bringing the total cumulative number of flights to 7 billion. More than 1000 sets of rolling stock are operated under the CRH brand, including the Hexie CRH1 / 2A / 5, which are rated for a top speed of 250 km / h (160 mph), and the CRH2C / 3 has a top speed of 350 km / h. ( 220 mph). The in-house developed CRH380A has a maximum test speed of 416.6 km / h (258.9 mph) at a commercial speed of 350 km / h.The fastest CRH380BL train reaches a maximum test speed of 487.3 km / h (302.8 mph) ). In 2017, China Standardized EMU brand, including CR400AF / BF and CR200J, joined China Railway High Speed ​​and is designated Fuxing along with the letters CR (China Railway). With gradual planning, the CR brand will replace the existing CRH brand in service. Depending on the speed, there are 3 categories of high-speed trains: G, D and C (G and some C are the fastest at 350 km / h, D at 250 km / h and C at 200 km / h). <br /> High speed rail network. <br /> High speed rail services were first introduced in 2007 on CRH rolling stock. They operate on existing lines that have been upgraded to speeds of up to 250 km / h (160 mph), and on newer dedicated high-speed routes rated up to 350 km / h (220 mph). <br /> CRH service on dedicated high-speed lines<br /> <br /> ===Answers===<br /> <br /> ===References===<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004==<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic, and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between these dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019, 124)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusion.== <br /> Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> Lingo: 林戈<br /> Putonghua: 普通话<br /> Await student:等待学生<br /> Pinyin: 等待学生<br /> Lofty: 崇高：<br /> Vernacular: 白话：<br /> Swine: 猪：<br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=111635 2020-12-13T13:56:39Z

<p>Sagara Seydou 3: /* Conclusively, */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==Landscape, The Ancient Tea Horse Road - Lei Fangyuan 雷方圆==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.(Baidu Baike)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> <br /> 2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.((Baidu Baike)<br /> <br /> 3. the ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.(Baidu Baike)<br /> <br /> 4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.(Baidu Baike)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. <br /> <br /> Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.<br /> <br /> Shanxi- Tibet tea horse road (wade ancient road), was formed in the Han dynasty through the efforts of the Shanxi merchants and the ancient southwest border tea and horse. During the Ming and Qing dynasties, the government controlled tea traffickin along the tea trafficking sub-region, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:02, 7 December 2020 (UTC)Li Lili<br /> <br /> ====Historical Value====<br /> The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.(Baidu Baike)<br /> <br /> 1.The Golden Road of Tourism<br /> <br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.(Baidu Baike)<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> <br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Baidu Baike)<br /> <br /> 3.Migration Corridor of National Cultures<br /> <br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.(Baidu Baike)<br /> <br /> 4.Religious Propagation Road<br /> <br /> With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.(Baidu Baike)<br /> <br /> 5. The Path of National Spirituality<br /> <br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Baidu Baike)<br /> 6.The Road of National Unity and Integration<br /> <br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.(Baidu Baike)<br /> <br /> 7.The Road of Securing the Borders<br /> <br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.(Baidu Baike)<br /> <br /> 8.The road to economic development<br /> <br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Baidu Baike)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 03:42, 29 November 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?<br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> The Chinese text rooted in Baidu Baike. The website as following:https://baike.baidu.com.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:15, 8 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Puppets - Li Lili 李丽丽==<br /> ===Shadow Puppets Li Lili No.202070080594===<br /> ====The Origin of Shadow Play====<br /> Shadow play has a history of more than 2000 years from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid. So he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story written in Hanshu is considered to be the earliest origin of shadow play. There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development in Bianjing of the Northern Song Dynasty is closely related to Bianjing’s superior geographical environment, the development of commodity trade and commercial transportation at that time.(Wei Liqun 2018,13-14)<br /> <br /> ====Introduction====<br /> More than 2,000 years ago, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks” , “waving a sword and a spear, ” or even “smoking ”by puppeteer holding and moving manipulating rods on its body. Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc.(Wang Yexia 2012,1-3)<br /> <br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. The “head” is the most important part of a shadow puppet and its total component number is about four times that of the “body”. A shadow puppet’s “head”. And the “body” can be mixed and matched with each other. (Wang Yexia 2012,29-33)<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged person are short beard, but the elderly man are long beard. The decorative designs on the shadow puppets are very important and match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character. The black is a sign of a just, honest and selfless personality. The yellow shows a brave and irascible character, also are used in fantasy plays to represent people with magic power. To make a shadow puppet move flexibly, a complete figure often has many components such as a head, a chest,a belly, two legs, two arms, two elbows, two hands. (Wang Yexia 2012,9-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to work. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. After the end of the &quot;Cultural Revolution&quot;, shadow puppet art recovered rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation of the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.<br /> <br /> ===References：===<br /> 王业霞 《皮影戏》 北京：高等教育出版社 2012 Wang Yexia [Shadow Play] Beijing: [Higher Education Publishing House] 2012<br /> <br /> 魏力群 《小书大传承-皮影》 重庆：重庆出版社 2018 Wei Liqun [&quot;Small Book, Big Heritage - Shadow Play&quot;] Chongqing: [Chongqing Publishing House] 2018<br /> <br /> 朱恒夫 中国皮影戏的历史，现状与剧目特征[J] 浙江艺术职业学院学报 2020(18) Zhu [Hengfu The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre][J] [Journal of Zhejiang Arts Vocational College] 2020(18)<br /> <br /> ===Words and Expressions===<br /> shadow puppet皮影戏 <br /> paper cutting 剪纸<br /> ventriloquism 口技<br /> manipulating rod 操纵杆<br /> five facial features 五官<br /> sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> Cultural Revolution 文化大革命<br /> intangible cultural heritage 非物质文化遗产<br /> <br /> <br /> ===Questions===<br /> 1.When is the earliest shadow puppet’s record?<br /> <br /> 2.What art of forms do shadow play use?<br /> <br /> 3. What does a red head stand for in a play?<br /> <br /> 4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> <br /> ===Answers===<br /> 1.Song dynasty.<br /> <br /> 2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> <br /> 3.The red is symbol of a heroic and upstanding character.<br /> <br /> 4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴==<br /> <br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. <br /> <br /> However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. <br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; (Li Xiaoyu 2010, 33) the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. (Tan Su 2012, 68) &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society.<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization.<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. (Li Chengzong 2002, 67) On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. <br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. (Wang Jie 2004, 82-83) Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves.<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83) <br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication.<br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. <br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. <br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. <br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. <br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. <br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House.<br /> <br /> ==Ch'ien Chung-shu Liu Liu 刘柳， 202070080596==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:00, 13 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ===相声 Cross Talk===<br /> <br /> ===The History of Cross Talk===<br /> <br /> Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate other's voices, also known as neighboring cross talk. It was evolved and further developed from the folk music in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng （1850—1861）and Emperor Tongzhi（1861—1874）period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 06:33, 23 November 2020 (UTC)<br /> <br /> ===Famous Artists of Cross Talk===<br /> <br /> ===Answers===<br /> ===References===<br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.<br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded. Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular. The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Cho Chikun (1997). Go: A Complete Introduction to the Game. Tokyo: Kiseido Publishers. ISBN 978-4-906574-50-6.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> [6]百度百科：围棋<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.” History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. (Fan Jinshi 2010，170)The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. <br /> <br /> After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96.( Fan Jinshi 2010, 175) In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting. <br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University兰州大学.<br /> <br /> MA Shichang.(2010).Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang.MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].中原文物 Cultural Relics in Central Plain,No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-level Cultural Relics Luo Weijia罗维嘉 Student No.202070080600==<br /> <br /> ===Four State-level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.<br /> <br /> ====Houmuwu Ding====<br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority. For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment.<br /> <br /> Simuwu Ding,or Houmuwu Ding, was a very precious cultural relic, found in 1937 in Anyang of Henan Province (Zhang Peng:86-89).It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing. <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices. <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Zhang Peng:86-89).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties.<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound.<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum(Gao Nan:29). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg (Gao Nan:29). It is extremely rare tosee a set with so many bells of such weight and size. <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen:1-2). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music. <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”.<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread.<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen:38-39). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen:38-39). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure.<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian:10-11). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers. <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum.<br /> <br /> ===Terms and Expressions===<br /> <br /> Houmuwu Ding 后母戊鼎<br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> [1]Zhang Peng 张鹏.(2020).青铜大师杜廼松:“司母戊鼎”名称不容置疑[No Doubt about the Name of Simuwu Ding].中国民族博览 (09):86-89.<br /> <br /> [2]Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi].文史知识 (11):1-2.<br /> <br /> [3]Gao Nan 高楠.(2020).音乐中的国家宝藏——曾侯乙编钟[National Treasure in Music].琴童 (01):29.<br /> <br /> [4]Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 [The Study of Jade Suit with Gold Thread Unearthed in Mancheng].文物鉴定与鉴赏 (03):38-39.<br /> <br /> [5]Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Sculpture ——the Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> == The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panaroma view of the Forbidden City.jpg|300px|thumb|left|A Panaroma view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.<br /> <br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper.<br /> After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Chinese Clothing== Phyo, Su Kyi, Student No-20191108000<br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.“Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press,2016.<br /> <br /> <br /> 2.Mei Hua, `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress2010<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> <br /> ===Chinese Traditional women clothing===<br /> <br /> ===1- History of Chinese clothing===<br /> <br /> History of Chinese clothing China has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization.<br /> <br /> ===A- Chinese Clothing during Qin and Han Dynasties (221 B.C - 220 A.D)===<br /> <br /> The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established many social systems, including one for uniforms to distinguish people's ranks and social positions. China's complete code of costume and trappings was established in the Han Dynasty (206BC-220AD). The yarn-dyeing, embroidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.<br /> <br /> ===B-Chinese Clothing during Wei,Jin, South and North Dynasties(220-589)===<br /> <br /> Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589). Before 265, the cultures and esthetic views of the peoples in north and south China merged because of the moves initiated by frequent wars. Many philosophical schools of thought influenced both people's lives and the conceptions of clothing design.<br /> <br /> ===C- Chinese Clothing during Tang Dynasty(618-907)===<br /> <br /> The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.<br /> <br /> ===D-Chinese Clothing during Song, Yuan, Ming Dynasties===<br /> <br /> Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and elegant.During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the People on Horseback, was in power. The style of clothing was mainly a combination of Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in design.Dramatic changes took place during the Ming Dynasty (1368-1644). A new conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.<br /> <br /> ===E- Chinese Clothing during Qing Dynasty===<br /> <br /> During the Qing Dynasty (1644-1911), clothes became elegant, poised, and glorious. During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious heritage for traditional Chinese clothes.<br /> <br /> ===F-Chinese Clothing from 1930s till Modern Era===<br /> <br /> Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to 1960s, Qipao(Cheongsam) survives as everyday wear in Hong Kong until the late 1960s. <br /> <br /> ===Terms and Expressions=== <br /> <br /> ===Questions=== <br /> <br /> ===References===.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 17:37, 25 November 2020 (UTC)Phyo Su Kyi<br /> <br /> ===Answers===<br /> <br /> ===References===--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 04:45, 13 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604==<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore, drinking vessels as part of the liquor culture also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康 <br /> 2.Chinese Dionysus 中国酒神<br /> 3.husked sorghum rice 秫米饭 <br /> 4.Baishui 白水县（陕西渭南市辖县） <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县） <br /> 6.fermented wine 发酵酒<br /> 7.Distilled liquor 蒸馏酒 <br /> 8.Yellow rice wine 黄酒<br /> 9.Shaoxing Wine 绍兴酒 <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> 11.Mellow Wine 醇香酒 <br /> 12.Dongwu Rice Wine 东吴老酒<br /> 13.Liquor and Spirits 白酒 <br /> 14.Kweichow Moutai 贵州茅台<br /> 15.sauce-flavor type 酱香型 <br /> 16.light flavor type 清香型 <br /> 17.strong flavor type 浓香型 <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> 19.the Peiligang culture period裴李岗文化时期 <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> 21.Zun 樽 <br /> 22.injection vessel and bowl 注子和注碗<br /> 23.drinking order 行酒令<br /> <br /> ====Questions====<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> China Railway High-Speed ​​(CRH) is a high-speed rail service operated by the China Railway. The introduction of the CRH series was an important part of the 6th National Rail Acceleration, which took place on April 18, 2007. By the end of 2018, China Railway High Speed ​​served all provinces in China except Taiwan and covered over 29,000 km. (18,000 miles) the length of passenger routes, which make up about two-thirds of the world's high-speed rail routes served by commercial enterprises. It is the most widely used rail transport in the world, with 1.713 billion flights in 2017, bringing the total cumulative number of flights to 7 billion. More than 1000 sets of rolling stock are operated under the CRH brand, including the Hexie CRH1 / 2A / 5, which are rated for a top speed of 250 km / h (160 mph), and the CRH2C / 3 has a top speed of 350 km / h. ( 220 mph). The in-house developed CRH380A has a maximum test speed of 416.6 km / h (258.9 mph) at a commercial speed of 350 km / h.The fastest CRH380BL train reaches a maximum test speed of 487.3 km / h (302.8 mph) ). In 2017, China Standardized EMU brand, including CR400AF / BF and CR200J, joined China Railway High Speed ​​and is designated Fuxing along with the letters CR (China Railway). With gradual planning, the CR brand will replace the existing CRH brand in service. Depending on the speed, there are 3 categories of high-speed trains: G, D and C (G and some C are the fastest at 350 km / h, D at 250 km / h and C at 200 km / h). <br /> High speed rail network. <br /> High speed rail services were first introduced in 2007 on CRH rolling stock. They operate on existing lines that have been upgraded to speeds of up to 250 km / h (160 mph), and on newer dedicated high-speed routes rated up to 350 km / h (220 mph). <br /> CRH service on dedicated high-speed lines<br /> <br /> ===Answers===<br /> <br /> ===References===<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004==<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic, and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between these dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019, 124)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusively,== today an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> Lingo: 林戈<br /> Putonghua: 普通话<br /> Await student:等待学生<br /> Pinyin: 等待学生<br /> Lofty: 崇高：<br /> Vernacular: 白话：<br /> Swine: 猪：<br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=111630 2020-12-13T13:54:21Z

<p>Sagara Seydou 3: /* References */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==Landscape, The Ancient Tea Horse Road - Lei Fangyuan 雷方圆==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.(Baidu Baike)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> <br /> 2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.((Baidu Baike)<br /> <br /> 3. the ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.(Baidu Baike)<br /> <br /> 4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.(Baidu Baike)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. <br /> <br /> Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.<br /> <br /> Shanxi- Tibet tea horse road (wade ancient road), was formed in the Han dynasty through the efforts of the Shanxi merchants and the ancient southwest border tea and horse. During the Ming and Qing dynasties, the government controlled tea traffickin along the tea trafficking sub-region, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:02, 7 December 2020 (UTC)Li Lili<br /> <br /> ====Historical Value====<br /> The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.(Baidu Baike)<br /> <br /> 1.The Golden Road of Tourism<br /> <br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.(Baidu Baike)<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> <br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Baidu Baike)<br /> <br /> 3.Migration Corridor of National Cultures<br /> <br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.(Baidu Baike)<br /> <br /> 4.Religious Propagation Road<br /> <br /> With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.(Baidu Baike)<br /> <br /> 5. The Path of National Spirituality<br /> <br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Baidu Baike)<br /> 6.The Road of National Unity and Integration<br /> <br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.(Baidu Baike)<br /> <br /> 7.The Road of Securing the Borders<br /> <br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.(Baidu Baike)<br /> <br /> 8.The road to economic development<br /> <br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Baidu Baike)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 03:42, 29 November 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?<br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> The Chinese text rooted in Baidu Baike. The website as following:https://baike.baidu.com.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:15, 8 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Puppets - Li Lili 李丽丽==<br /> ===Shadow Puppets Li Lili No.202070080594===<br /> ====The Origin of Shadow Play====<br /> Shadow play has a history of more than 2000 years from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid. So he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story written in Hanshu is considered to be the earliest origin of shadow play. There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development in Bianjing of the Northern Song Dynasty is closely related to Bianjing’s superior geographical environment, the development of commodity trade and commercial transportation at that time.(Wei Liqun 2018,13-14)<br /> <br /> ====Introduction====<br /> More than 2,000 years ago, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks” , “waving a sword and a spear, ” or even “smoking ”by puppeteer holding and moving manipulating rods on its body. Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc.(Wang Yexia 2012,1-3)<br /> <br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. The “head” is the most important part of a shadow puppet and its total component number is about four times that of the “body”. A shadow puppet’s “head”. And the “body” can be mixed and matched with each other. (Wang Yexia 2012,29-33)<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged person are short beard, but the elderly man are long beard. The decorative designs on the shadow puppets are very important and match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character. The black is a sign of a just, honest and selfless personality. The yellow shows a brave and irascible character, also are used in fantasy plays to represent people with magic power. To make a shadow puppet move flexibly, a complete figure often has many components such as a head, a chest,a belly, two legs, two arms, two elbows, two hands. (Wang Yexia 2012,9-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to work. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. After the end of the &quot;Cultural Revolution&quot;, shadow puppet art recovered rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation of the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.<br /> <br /> ===References：===<br /> 王业霞 《皮影戏》 北京：高等教育出版社 2012 Wang Yexia [Shadow Play] Beijing: [Higher Education Publishing House] 2012<br /> <br /> 魏力群 《小书大传承-皮影》 重庆：重庆出版社 2018 Wei Liqun [&quot;Small Book, Big Heritage - Shadow Play&quot;] Chongqing: [Chongqing Publishing House] 2018<br /> <br /> 朱恒夫 中国皮影戏的历史，现状与剧目特征[J] 浙江艺术职业学院学报 2020(18) Zhu [Hengfu The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre][J] [Journal of Zhejiang Arts Vocational College] 2020(18)<br /> <br /> ===Words and Expressions===<br /> shadow puppet皮影戏 <br /> paper cutting 剪纸<br /> ventriloquism 口技<br /> manipulating rod 操纵杆<br /> five facial features 五官<br /> sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> Cultural Revolution 文化大革命<br /> intangible cultural heritage 非物质文化遗产<br /> <br /> <br /> ===Questions===<br /> 1.When is the earliest shadow puppet’s record?<br /> <br /> 2.What art of forms do shadow play use?<br /> <br /> 3. What does a red head stand for in a play?<br /> <br /> 4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> <br /> ===Answers===<br /> 1.Song dynasty.<br /> <br /> 2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> <br /> 3.The red is symbol of a heroic and upstanding character.<br /> <br /> 4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴==<br /> <br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. <br /> <br /> However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. <br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; (Li Xiaoyu 2010, 33) the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. (Tan Su 2012, 68) &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society.<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization.<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. (Li Chengzong 2002, 67) On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. <br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. (Wang Jie 2004, 82-83) Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves.<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83) <br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication.<br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. <br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. <br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. <br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. <br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. <br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House.<br /> <br /> ==Ch'ien Chung-shu Liu Liu 刘柳， 202070080596==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:00, 13 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ===相声 Cross Talk===<br /> <br /> ===The History of Cross Talk===<br /> <br /> Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate other's voices, also known as neighboring cross talk. It was evolved and further developed from the folk music in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng （1850—1861）and Emperor Tongzhi（1861—1874）period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 06:33, 23 November 2020 (UTC)<br /> <br /> ===Famous Artists of Cross Talk===<br /> <br /> ===Answers===<br /> ===References===<br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.<br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded. Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular. The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Cho Chikun (1997). Go: A Complete Introduction to the Game. Tokyo: Kiseido Publishers. ISBN 978-4-906574-50-6.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> [6]百度百科：围棋<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.” History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. (Fan Jinshi 2010，170)The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. <br /> <br /> After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96.( Fan Jinshi 2010, 175) In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting. <br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University兰州大学.<br /> <br /> MA Shichang.(2010).Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang.MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].中原文物 Cultural Relics in Central Plain,No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-level Cultural Relics Luo Weijia罗维嘉 Student No.202070080600==<br /> <br /> ===Four State-level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.<br /> <br /> ====Houmuwu Ding====<br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority. For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment.<br /> <br /> Simuwu Ding,or Houmuwu Ding, was a very precious cultural relic, found in 1937 in Anyang of Henan Province (Zhang Peng:86-89).It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing. <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices. <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Zhang Peng:86-89).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties.<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound.<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum(Gao Nan:29). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg (Gao Nan:29). It is extremely rare tosee a set with so many bells of such weight and size. <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen:1-2). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music. <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”.<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread.<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen:38-39). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen:38-39). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure.<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian:10-11). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers. <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum.<br /> <br /> ===Terms and Expressions===<br /> <br /> Houmuwu Ding 后母戊鼎<br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> [1]Zhang Peng 张鹏.(2020).青铜大师杜廼松:“司母戊鼎”名称不容置疑[No Doubt about the Name of Simuwu Ding].中国民族博览 (09):86-89.<br /> <br /> [2]Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi].文史知识 (11):1-2.<br /> <br /> [3]Gao Nan 高楠.(2020).音乐中的国家宝藏——曾侯乙编钟[National Treasure in Music].琴童 (01):29.<br /> <br /> [4]Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 [The Study of Jade Suit with Gold Thread Unearthed in Mancheng].文物鉴定与鉴赏 (03):38-39.<br /> <br /> [5]Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Sculpture ——the Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> == The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panaroma view of the Forbidden City.jpg|300px|thumb|left|A Panaroma view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.<br /> <br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper.<br /> After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Chinese Clothing== Phyo, Su Kyi, Student No-20191108000<br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.“Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press,2016.<br /> <br /> <br /> 2.Mei Hua, `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress2010<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> <br /> ===Chinese Traditional women clothing===<br /> <br /> ===1- History of Chinese clothing===<br /> <br /> History of Chinese clothing China has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization.<br /> <br /> ===A- Chinese Clothing during Qin and Han Dynasties (221 B.C - 220 A.D)===<br /> <br /> The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established many social systems, including one for uniforms to distinguish people's ranks and social positions. China's complete code of costume and trappings was established in the Han Dynasty (206BC-220AD). The yarn-dyeing, embroidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.<br /> <br /> ===B-Chinese Clothing during Wei,Jin, South and North Dynasties(220-589)===<br /> <br /> Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589). Before 265, the cultures and esthetic views of the peoples in north and south China merged because of the moves initiated by frequent wars. Many philosophical schools of thought influenced both people's lives and the conceptions of clothing design.<br /> <br /> ===C- Chinese Clothing during Tang Dynasty(618-907)===<br /> <br /> The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.<br /> <br /> ===D-Chinese Clothing during Song, Yuan, Ming Dynasties===<br /> <br /> Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and elegant.During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the People on Horseback, was in power. The style of clothing was mainly a combination of Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in design.Dramatic changes took place during the Ming Dynasty (1368-1644). A new conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.<br /> <br /> ===E- Chinese Clothing during Qing Dynasty===<br /> <br /> During the Qing Dynasty (1644-1911), clothes became elegant, poised, and glorious. During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious heritage for traditional Chinese clothes.<br /> <br /> ===F-Chinese Clothing from 1930s till Modern Era===<br /> <br /> Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to 1960s, Qipao(Cheongsam) survives as everyday wear in Hong Kong until the late 1960s. <br /> <br /> ===Terms and Expressions=== <br /> <br /> ===Questions=== <br /> <br /> ===References===.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 17:37, 25 November 2020 (UTC)Phyo Su Kyi<br /> <br /> ===Answers===<br /> <br /> ===References===--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 04:45, 13 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604==<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore, drinking vessels as part of the liquor culture also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康 <br /> 2.Chinese Dionysus 中国酒神<br /> 3.husked sorghum rice 秫米饭 <br /> 4.Baishui 白水县（陕西渭南市辖县） <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县） <br /> 6.fermented wine 发酵酒<br /> 7.Distilled liquor 蒸馏酒 <br /> 8.Yellow rice wine 黄酒<br /> 9.Shaoxing Wine 绍兴酒 <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> 11.Mellow Wine 醇香酒 <br /> 12.Dongwu Rice Wine 东吴老酒<br /> 13.Liquor and Spirits 白酒 <br /> 14.Kweichow Moutai 贵州茅台<br /> 15.sauce-flavor type 酱香型 <br /> 16.light flavor type 清香型 <br /> 17.strong flavor type 浓香型 <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> 19.the Peiligang culture period裴李岗文化时期 <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> 21.Zun 樽 <br /> 22.injection vessel and bowl 注子和注碗<br /> 23.drinking order 行酒令<br /> <br /> ====Questions====<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> China Railway High-Speed ​​(CRH) is a high-speed rail service operated by the China Railway. The introduction of the CRH series was an important part of the 6th National Rail Acceleration, which took place on April 18, 2007. By the end of 2018, China Railway High Speed ​​served all provinces in China except Taiwan and covered over 29,000 km. (18,000 miles) the length of passenger routes, which make up about two-thirds of the world's high-speed rail routes served by commercial enterprises. It is the most widely used rail transport in the world, with 1.713 billion flights in 2017, bringing the total cumulative number of flights to 7 billion. More than 1000 sets of rolling stock are operated under the CRH brand, including the Hexie CRH1 / 2A / 5, which are rated for a top speed of 250 km / h (160 mph), and the CRH2C / 3 has a top speed of 350 km / h. ( 220 mph). The in-house developed CRH380A has a maximum test speed of 416.6 km / h (258.9 mph) at a commercial speed of 350 km / h.The fastest CRH380BL train reaches a maximum test speed of 487.3 km / h (302.8 mph) ). In 2017, China Standardized EMU brand, including CR400AF / BF and CR200J, joined China Railway High Speed ​​and is designated Fuxing along with the letters CR (China Railway). With gradual planning, the CR brand will replace the existing CRH brand in service. Depending on the speed, there are 3 categories of high-speed trains: G, D and C (G and some C are the fastest at 350 km / h, D at 250 km / h and C at 200 km / h). <br /> High speed rail network. <br /> High speed rail services were first introduced in 2007 on CRH rolling stock. They operate on existing lines that have been upgraded to speeds of up to 250 km / h (160 mph), and on newer dedicated high-speed routes rated up to 350 km / h (220 mph). <br /> CRH service on dedicated high-speed lines<br /> <br /> ===Answers===<br /> <br /> ===References===<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004==<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic, and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between these dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019, 124)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusively,==<br /> Today an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> Lingo: 林戈<br /> Putonghua: 普通话<br /> Await student:等待学生<br /> Pinyin: 等待学生<br /> Lofty: 崇高：<br /> Vernacular: 白话：<br /> Swine: 猪：<br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=111627 2020-12-13T13:51:37Z

<p>Sagara Seydou 3: /* Putonghua and Dialects */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==Landscape, The Ancient Tea Horse Road - Lei Fangyuan 雷方圆==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.(Baidu Baike)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> <br /> 2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.((Baidu Baike)<br /> <br /> 3. the ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.(Baidu Baike)<br /> <br /> 4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.(Baidu Baike)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. <br /> <br /> Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.<br /> <br /> Shanxi- Tibet tea horse road (wade ancient road), was formed in the Han dynasty through the efforts of the Shanxi merchants and the ancient southwest border tea and horse. During the Ming and Qing dynasties, the government controlled tea traffickin along the tea trafficking sub-region, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:02, 7 December 2020 (UTC)Li Lili<br /> <br /> ====Historical Value====<br /> The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.(Baidu Baike)<br /> <br /> 1.The Golden Road of Tourism<br /> <br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.(Baidu Baike)<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> <br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Baidu Baike)<br /> <br /> 3.Migration Corridor of National Cultures<br /> <br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.(Baidu Baike)<br /> <br /> 4.Religious Propagation Road<br /> <br /> With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.(Baidu Baike)<br /> <br /> 5. The Path of National Spirituality<br /> <br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Baidu Baike)<br /> 6.The Road of National Unity and Integration<br /> <br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.(Baidu Baike)<br /> <br /> 7.The Road of Securing the Borders<br /> <br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.(Baidu Baike)<br /> <br /> 8.The road to economic development<br /> <br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Baidu Baike)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 03:42, 29 November 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?<br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> The Chinese text rooted in Baidu Baike. The website as following:https://baike.baidu.com.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:15, 8 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Puppets - Li Lili 李丽丽==<br /> ===Shadow Puppets Li Lili No.202070080594===<br /> ====The Origin of Shadow Play====<br /> Shadow play has a history of more than 2000 years from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid. So he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story written in Hanshu is considered to be the earliest origin of shadow play. There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development in Bianjing of the Northern Song Dynasty is closely related to Bianjing’s superior geographical environment, the development of commodity trade and commercial transportation at that time.(Wei Liqun 2018,13-14)<br /> <br /> ====Introduction====<br /> More than 2,000 years ago, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks” , “waving a sword and a spear, ” or even “smoking ”by puppeteer holding and moving manipulating rods on its body. Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc.(Wang Yexia 2012,1-3)<br /> <br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. The “head” is the most important part of a shadow puppet and its total component number is about four times that of the “body”. A shadow puppet’s “head”. And the “body” can be mixed and matched with each other. (Wang Yexia 2012,29-33)<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged person are short beard, but the elderly man are long beard. The decorative designs on the shadow puppets are very important and match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character. The black is a sign of a just, honest and selfless personality. The yellow shows a brave and irascible character, also are used in fantasy plays to represent people with magic power. To make a shadow puppet move flexibly, a complete figure often has many components such as a head, a chest,a belly, two legs, two arms, two elbows, two hands. (Wang Yexia 2012,9-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to work. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. After the end of the &quot;Cultural Revolution&quot;, shadow puppet art recovered rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation of the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.<br /> <br /> ===References：===<br /> 王业霞 《皮影戏》 北京：高等教育出版社 2012 Wang Yexia [Shadow Play] Beijing: [Higher Education Publishing House] 2012<br /> <br /> 魏力群 《小书大传承-皮影》 重庆：重庆出版社 2018 Wei Liqun [&quot;Small Book, Big Heritage - Shadow Play&quot;] Chongqing: [Chongqing Publishing House] 2018<br /> <br /> 朱恒夫 中国皮影戏的历史，现状与剧目特征[J] 浙江艺术职业学院学报 2020(18) Zhu [Hengfu The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre][J] [Journal of Zhejiang Arts Vocational College] 2020(18)<br /> <br /> ===Words and Expressions===<br /> shadow puppet皮影戏 <br /> paper cutting 剪纸<br /> ventriloquism 口技<br /> manipulating rod 操纵杆<br /> five facial features 五官<br /> sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> Cultural Revolution 文化大革命<br /> intangible cultural heritage 非物质文化遗产<br /> <br /> <br /> ===Questions===<br /> 1.When is the earliest shadow puppet’s record?<br /> <br /> 2.What art of forms do shadow play use?<br /> <br /> 3. What does a red head stand for in a play?<br /> <br /> 4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> <br /> ===Answers===<br /> 1.Song dynasty.<br /> <br /> 2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> <br /> 3.The red is symbol of a heroic and upstanding character.<br /> <br /> 4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴==<br /> <br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. <br /> <br /> However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. <br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; (Li Xiaoyu 2010, 33) the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. (Tan Su 2012, 68) &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society.<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization.<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. (Li Chengzong 2002, 67) On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. <br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. (Wang Jie 2004, 82-83) Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves.<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83) <br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication.<br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. <br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. <br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. <br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. <br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. <br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House.<br /> <br /> ==Ch'ien Chung-shu Liu Liu 刘柳， 202070080596==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:00, 13 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ===相声 Cross Talk===<br /> <br /> ===The History of Cross Talk===<br /> <br /> Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate other's voices, also known as neighboring cross talk. It was evolved and further developed from the folk music in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng （1850—1861）and Emperor Tongzhi（1861—1874）period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 06:33, 23 November 2020 (UTC)<br /> <br /> ===Famous Artists of Cross Talk===<br /> <br /> ===Answers===<br /> ===References===<br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.<br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded. Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular. The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Cho Chikun (1997). Go: A Complete Introduction to the Game. Tokyo: Kiseido Publishers. ISBN 978-4-906574-50-6.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> [6]百度百科：围棋<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.” History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. (Fan Jinshi 2010，170)The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. <br /> <br /> After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96.( Fan Jinshi 2010, 175) In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting. <br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University兰州大学.<br /> <br /> MA Shichang.(2010).Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang.MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].中原文物 Cultural Relics in Central Plain,No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-level Cultural Relics Luo Weijia罗维嘉 Student No.202070080600==<br /> <br /> ===Four State-level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.<br /> <br /> ====Houmuwu Ding====<br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority. For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment.<br /> <br /> Simuwu Ding,or Houmuwu Ding, was a very precious cultural relic, found in 1937 in Anyang of Henan Province (Zhang Peng:86-89).It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing. <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices. <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Zhang Peng:86-89).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties.<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound.<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum(Gao Nan:29). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg (Gao Nan:29). It is extremely rare tosee a set with so many bells of such weight and size. <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen:1-2). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music. <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”.<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread.<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen:38-39). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen:38-39). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure.<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian:10-11). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers. <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum.<br /> <br /> ===Terms and Expressions===<br /> <br /> Houmuwu Ding 后母戊鼎<br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> [1]Zhang Peng 张鹏.(2020).青铜大师杜廼松:“司母戊鼎”名称不容置疑[No Doubt about the Name of Simuwu Ding].中国民族博览 (09):86-89.<br /> <br /> [2]Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi].文史知识 (11):1-2.<br /> <br /> [3]Gao Nan 高楠.(2020).音乐中的国家宝藏——曾侯乙编钟[National Treasure in Music].琴童 (01):29.<br /> <br /> [4]Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 [The Study of Jade Suit with Gold Thread Unearthed in Mancheng].文物鉴定与鉴赏 (03):38-39.<br /> <br /> [5]Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Sculpture ——the Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> == The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panaroma view of the Forbidden City.jpg|300px|thumb|left|A Panaroma view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.<br /> <br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper.<br /> After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Chinese Clothing== Phyo, Su Kyi, Student No-20191108000<br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.“Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press,2016.<br /> <br /> <br /> 2.Mei Hua, `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress2010<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> <br /> ===Chinese Traditional women clothing===<br /> <br /> ===1- History of Chinese clothing===<br /> <br /> History of Chinese clothing China has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization.<br /> <br /> ===A- Chinese Clothing during Qin and Han Dynasties (221 B.C - 220 A.D)===<br /> <br /> The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established many social systems, including one for uniforms to distinguish people's ranks and social positions. China's complete code of costume and trappings was established in the Han Dynasty (206BC-220AD). The yarn-dyeing, embroidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.<br /> <br /> ===B-Chinese Clothing during Wei,Jin, South and North Dynasties(220-589)===<br /> <br /> Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589). Before 265, the cultures and esthetic views of the peoples in north and south China merged because of the moves initiated by frequent wars. Many philosophical schools of thought influenced both people's lives and the conceptions of clothing design.<br /> <br /> ===C- Chinese Clothing during Tang Dynasty(618-907)===<br /> <br /> The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.<br /> <br /> ===D-Chinese Clothing during Song, Yuan, Ming Dynasties===<br /> <br /> Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and elegant.During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the People on Horseback, was in power. The style of clothing was mainly a combination of Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in design.Dramatic changes took place during the Ming Dynasty (1368-1644). A new conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.<br /> <br /> ===E- Chinese Clothing during Qing Dynasty===<br /> <br /> During the Qing Dynasty (1644-1911), clothes became elegant, poised, and glorious. During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious heritage for traditional Chinese clothes.<br /> <br /> ===F-Chinese Clothing from 1930s till Modern Era===<br /> <br /> Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to 1960s, Qipao(Cheongsam) survives as everyday wear in Hong Kong until the late 1960s. <br /> <br /> ===Terms and Expressions=== <br /> <br /> ===Questions=== <br /> <br /> ===References===.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 17:37, 25 November 2020 (UTC)Phyo Su Kyi<br /> <br /> ===Answers===<br /> <br /> ===References===--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 04:45, 13 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604==<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore, drinking vessels as part of the liquor culture also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康 <br /> 2.Chinese Dionysus 中国酒神<br /> 3.husked sorghum rice 秫米饭 <br /> 4.Baishui 白水县（陕西渭南市辖县） <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县） <br /> 6.fermented wine 发酵酒<br /> 7.Distilled liquor 蒸馏酒 <br /> 8.Yellow rice wine 黄酒<br /> 9.Shaoxing Wine 绍兴酒 <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> 11.Mellow Wine 醇香酒 <br /> 12.Dongwu Rice Wine 东吴老酒<br /> 13.Liquor and Spirits 白酒 <br /> 14.Kweichow Moutai 贵州茅台<br /> 15.sauce-flavor type 酱香型 <br /> 16.light flavor type 清香型 <br /> 17.strong flavor type 浓香型 <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> 19.the Peiligang culture period裴李岗文化时期 <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> 21.Zun 樽 <br /> 22.injection vessel and bowl 注子和注碗<br /> 23.drinking order 行酒令<br /> <br /> ====Questions====<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> China Railway High-Speed ​​(CRH) is a high-speed rail service operated by the China Railway. The introduction of the CRH series was an important part of the 6th National Rail Acceleration, which took place on April 18, 2007. By the end of 2018, China Railway High Speed ​​served all provinces in China except Taiwan and covered over 29,000 km. (18,000 miles) the length of passenger routes, which make up about two-thirds of the world's high-speed rail routes served by commercial enterprises. It is the most widely used rail transport in the world, with 1.713 billion flights in 2017, bringing the total cumulative number of flights to 7 billion. More than 1000 sets of rolling stock are operated under the CRH brand, including the Hexie CRH1 / 2A / 5, which are rated for a top speed of 250 km / h (160 mph), and the CRH2C / 3 has a top speed of 350 km / h. ( 220 mph). The in-house developed CRH380A has a maximum test speed of 416.6 km / h (258.9 mph) at a commercial speed of 350 km / h.The fastest CRH380BL train reaches a maximum test speed of 487.3 km / h (302.8 mph) ). In 2017, China Standardized EMU brand, including CR400AF / BF and CR200J, joined China Railway High Speed ​​and is designated Fuxing along with the letters CR (China Railway). With gradual planning, the CR brand will replace the existing CRH brand in service. Depending on the speed, there are 3 categories of high-speed trains: G, D and C (G and some C are the fastest at 350 km / h, D at 250 km / h and C at 200 km / h). <br /> High speed rail network. <br /> High speed rail services were first introduced in 2007 on CRH rolling stock. They operate on existing lines that have been upgraded to speeds of up to 250 km / h (160 mph), and on newer dedicated high-speed routes rated up to 350 km / h (220 mph). <br /> CRH service on dedicated high-speed lines<br /> <br /> ===Answers===<br /> <br /> ===References===<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004==<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic, and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between these dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019, 124)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusively,==<br /> Today an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)----[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:32, 13 December 2020 (UTC)<br /> ===Terms and expressions===<br /> Lingo: 林戈<br /> Putonghua: 普通话<br /> Await student:等待学生<br /> Pinyin: 等待学生<br /> Lofty: 崇高：<br /> Vernacular: 白话：<br /> Swine: 猪：<br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:40, 12 December 2020 (UTC)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:02, 13 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=111620 2020-12-13T13:47:37Z

<p>Sagara Seydou 3: /* Ancient Chinese and Modern Chine */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==Landscape, The Ancient Tea Horse Road - Lei Fangyuan 雷方圆==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.(Baidu Baike)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> <br /> 2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.((Baidu Baike)<br /> <br /> 3. the ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.(Baidu Baike)<br /> <br /> 4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.(Baidu Baike)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. <br /> <br /> Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.<br /> <br /> Shanxi- Tibet tea horse road (wade ancient road), was formed in the Han dynasty through the efforts of the Shanxi merchants and the ancient southwest border tea and horse. During the Ming and Qing dynasties, the government controlled tea traffickin along the tea trafficking sub-region, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:02, 7 December 2020 (UTC)Li Lili<br /> <br /> ====Historical Value====<br /> The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.(Baidu Baike)<br /> <br /> 1.The Golden Road of Tourism<br /> <br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.(Baidu Baike)<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> <br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Baidu Baike)<br /> <br /> 3.Migration Corridor of National Cultures<br /> <br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.(Baidu Baike)<br /> <br /> 4.Religious Propagation Road<br /> <br /> With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.(Baidu Baike)<br /> <br /> 5. The Path of National Spirituality<br /> <br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Baidu Baike)<br /> 6.The Road of National Unity and Integration<br /> <br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.(Baidu Baike)<br /> <br /> 7.The Road of Securing the Borders<br /> <br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.(Baidu Baike)<br /> <br /> 8.The road to economic development<br /> <br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Baidu Baike)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 03:42, 29 November 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?<br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> The Chinese text rooted in Baidu Baike. The website as following:https://baike.baidu.com.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:15, 8 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Puppets - Li Lili 李丽丽==<br /> ===Shadow Puppets Li Lili No.202070080594===<br /> ====The Origin of Shadow Play====<br /> Shadow play has a history of more than 2000 years from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid. So he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story written in Hanshu is considered to be the earliest origin of shadow play. There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development in Bianjing of the Northern Song Dynasty is closely related to Bianjing’s superior geographical environment, the development of commodity trade and commercial transportation at that time.(Wei Liqun 2018,13-14)<br /> <br /> ====Introduction====<br /> More than 2,000 years ago, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks” , “waving a sword and a spear, ” or even “smoking ”by puppeteer holding and moving manipulating rods on its body. Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc.(Wang Yexia 2012,1-3)<br /> <br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. The “head” is the most important part of a shadow puppet and its total component number is about four times that of the “body”. A shadow puppet’s “head”. And the “body” can be mixed and matched with each other. (Wang Yexia 2012,29-33)<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged person are short beard, but the elderly man are long beard. The decorative designs on the shadow puppets are very important and match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character. The black is a sign of a just, honest and selfless personality. The yellow shows a brave and irascible character, also are used in fantasy plays to represent people with magic power. To make a shadow puppet move flexibly, a complete figure often has many components such as a head, a chest,a belly, two legs, two arms, two elbows, two hands. (Wang Yexia 2012,9-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to work. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. After the end of the &quot;Cultural Revolution&quot;, shadow puppet art recovered rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation of the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.<br /> <br /> ===References：===<br /> 王业霞 《皮影戏》 北京：高等教育出版社 2012 Wang Yexia [Shadow Play] Beijing: [Higher Education Publishing House] 2012<br /> <br /> 魏力群 《小书大传承-皮影》 重庆：重庆出版社 2018 Wei Liqun [&quot;Small Book, Big Heritage - Shadow Play&quot;] Chongqing: [Chongqing Publishing House] 2018<br /> <br /> 朱恒夫 中国皮影戏的历史，现状与剧目特征[J] 浙江艺术职业学院学报 2020(18) Zhu [Hengfu The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre][J] [Journal of Zhejiang Arts Vocational College] 2020(18)<br /> <br /> ===Words and Expressions===<br /> shadow puppet皮影戏 <br /> paper cutting 剪纸<br /> ventriloquism 口技<br /> manipulating rod 操纵杆<br /> five facial features 五官<br /> sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> Cultural Revolution 文化大革命<br /> intangible cultural heritage 非物质文化遗产<br /> <br /> <br /> ===Questions===<br /> 1.When is the earliest shadow puppet’s record?<br /> <br /> 2.What art of forms do shadow play use?<br /> <br /> 3. What does a red head stand for in a play?<br /> <br /> 4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> <br /> ===Answers===<br /> 1.Song dynasty.<br /> <br /> 2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> <br /> 3.The red is symbol of a heroic and upstanding character.<br /> <br /> 4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴==<br /> <br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. <br /> <br /> However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. <br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; (Li Xiaoyu 2010, 33) the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. (Tan Su 2012, 68) &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society.<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization.<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. (Li Chengzong 2002, 67) On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. <br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. (Wang Jie 2004, 82-83) Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves.<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83) <br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication.<br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. <br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. <br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. <br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. <br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. <br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House.<br /> <br /> ==Ch'ien Chung-shu Liu Liu 刘柳， 202070080596==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:00, 13 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ===相声 Cross Talk===<br /> <br /> ===The History of Cross Talk===<br /> <br /> Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate other's voices, also known as neighboring cross talk. It was evolved and further developed from the folk music in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng （1850—1861）and Emperor Tongzhi（1861—1874）period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 06:33, 23 November 2020 (UTC)<br /> <br /> ===Famous Artists of Cross Talk===<br /> <br /> ===Answers===<br /> ===References===<br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.<br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded. Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular. The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Cho Chikun (1997). Go: A Complete Introduction to the Game. Tokyo: Kiseido Publishers. ISBN 978-4-906574-50-6.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> [6]百度百科：围棋<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.” History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. (Fan Jinshi 2010，170)The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. <br /> <br /> After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96.( Fan Jinshi 2010, 175) In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting. <br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University兰州大学.<br /> <br /> MA Shichang.(2010).Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang.MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].中原文物 Cultural Relics in Central Plain,No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-level Cultural Relics Luo Weijia罗维嘉 Student No.202070080600==<br /> <br /> ===Four State-level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.<br /> <br /> ====Houmuwu Ding====<br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority. For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment.<br /> <br /> Simuwu Ding,or Houmuwu Ding, was a very precious cultural relic, found in 1937 in Anyang of Henan Province (Zhang Peng:86-89).It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing. <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices. <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Zhang Peng:86-89).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties.<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound.<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum(Gao Nan:29). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg (Gao Nan:29). It is extremely rare tosee a set with so many bells of such weight and size. <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen:1-2). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music. <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”.<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread.<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen:38-39). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen:38-39). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure.<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian:10-11). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers. <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum.<br /> <br /> ===Terms and Expressions===<br /> <br /> Houmuwu Ding 后母戊鼎<br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> [1]Zhang Peng 张鹏.(2020).青铜大师杜廼松:“司母戊鼎”名称不容置疑[No Doubt about the Name of Simuwu Ding].中国民族博览 (09):86-89.<br /> <br /> [2]Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi].文史知识 (11):1-2.<br /> <br /> [3]Gao Nan 高楠.(2020).音乐中的国家宝藏——曾侯乙编钟[National Treasure in Music].琴童 (01):29.<br /> <br /> [4]Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 [The Study of Jade Suit with Gold Thread Unearthed in Mancheng].文物鉴定与鉴赏 (03):38-39.<br /> <br /> [5]Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Sculpture ——the Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> == The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panaroma view of the Forbidden City.jpg|300px|thumb|left|A Panaroma view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.<br /> <br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper.<br /> After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Chinese Clothing== Phyo, Su Kyi, Student No-20191108000<br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.“Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press,2016.<br /> <br /> <br /> 2.Mei Hua, `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress2010<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> <br /> ===Chinese Traditional women clothing===<br /> <br /> ===1- History of Chinese clothing===<br /> <br /> History of Chinese clothing China has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization.<br /> <br /> ===A- Chinese Clothing during Qin and Han Dynasties (221 B.C - 220 A.D)===<br /> <br /> The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established many social systems, including one for uniforms to distinguish people's ranks and social positions. China's complete code of costume and trappings was established in the Han Dynasty (206BC-220AD). The yarn-dyeing, embroidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.<br /> <br /> ===B-Chinese Clothing during Wei,Jin, South and North Dynasties(220-589)===<br /> <br /> Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589). Before 265, the cultures and esthetic views of the peoples in north and south China merged because of the moves initiated by frequent wars. Many philosophical schools of thought influenced both people's lives and the conceptions of clothing design.<br /> <br /> ===C- Chinese Clothing during Tang Dynasty(618-907)===<br /> <br /> The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.<br /> <br /> ===D-Chinese Clothing during Song, Yuan, Ming Dynasties===<br /> <br /> Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and elegant.During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the People on Horseback, was in power. The style of clothing was mainly a combination of Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in design.Dramatic changes took place during the Ming Dynasty (1368-1644). A new conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.<br /> <br /> ===E- Chinese Clothing during Qing Dynasty===<br /> <br /> During the Qing Dynasty (1644-1911), clothes became elegant, poised, and glorious. During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious heritage for traditional Chinese clothes.<br /> <br /> ===F-Chinese Clothing from 1930s till Modern Era===<br /> <br /> Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to 1960s, Qipao(Cheongsam) survives as everyday wear in Hong Kong until the late 1960s. <br /> <br /> ===Terms and Expressions=== <br /> <br /> ===Questions=== <br /> <br /> ===References===.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 17:37, 25 November 2020 (UTC)Phyo Su Kyi<br /> <br /> ===Answers===<br /> <br /> ===References===--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 04:45, 13 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604==<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore, drinking vessels as part of the liquor culture also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康 <br /> 2.Chinese Dionysus 中国酒神<br /> 3.husked sorghum rice 秫米饭 <br /> 4.Baishui 白水县（陕西渭南市辖县） <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县） <br /> 6.fermented wine 发酵酒<br /> 7.Distilled liquor 蒸馏酒 <br /> 8.Yellow rice wine 黄酒<br /> 9.Shaoxing Wine 绍兴酒 <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> 11.Mellow Wine 醇香酒 <br /> 12.Dongwu Rice Wine 东吴老酒<br /> 13.Liquor and Spirits 白酒 <br /> 14.Kweichow Moutai 贵州茅台<br /> 15.sauce-flavor type 酱香型 <br /> 16.light flavor type 清香型 <br /> 17.strong flavor type 浓香型 <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> 19.the Peiligang culture period裴李岗文化时期 <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> 21.Zun 樽 <br /> 22.injection vessel and bowl 注子和注碗<br /> 23.drinking order 行酒令<br /> <br /> ====Questions====<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> China Railway High-Speed ​​(CRH) is a high-speed rail service operated by the China Railway. The introduction of the CRH series was an important part of the 6th National Rail Acceleration, which took place on April 18, 2007. By the end of 2018, China Railway High Speed ​​served all provinces in China except Taiwan and covered over 29,000 km. (18,000 miles) the length of passenger routes, which make up about two-thirds of the world's high-speed rail routes served by commercial enterprises. It is the most widely used rail transport in the world, with 1.713 billion flights in 2017, bringing the total cumulative number of flights to 7 billion. More than 1000 sets of rolling stock are operated under the CRH brand, including the Hexie CRH1 / 2A / 5, which are rated for a top speed of 250 km / h (160 mph), and the CRH2C / 3 has a top speed of 350 km / h. ( 220 mph). The in-house developed CRH380A has a maximum test speed of 416.6 km / h (258.9 mph) at a commercial speed of 350 km / h.The fastest CRH380BL train reaches a maximum test speed of 487.3 km / h (302.8 mph) ). In 2017, China Standardized EMU brand, including CR400AF / BF and CR200J, joined China Railway High Speed ​​and is designated Fuxing along with the letters CR (China Railway). With gradual planning, the CR brand will replace the existing CRH brand in service. Depending on the speed, there are 3 categories of high-speed trains: G, D and C (G and some C are the fastest at 350 km / h, D at 250 km / h and C at 200 km / h). <br /> High speed rail network. <br /> High speed rail services were first introduced in 2007 on CRH rolling stock. They operate on existing lines that have been upgraded to speeds of up to 250 km / h (160 mph), and on newer dedicated high-speed routes rated up to 350 km / h (220 mph). <br /> CRH service on dedicated high-speed lines<br /> <br /> ===Answers===<br /> <br /> ===References===<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004==<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic, and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between these dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019, 124)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:36, 13 December 2020 (UTC)[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:05, 13 December 2020 (UTC)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:23, 13 December 2020 (UTC)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:30, 13 December 2020 (UTC)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusively,==<br /> Today an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)----[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:32, 13 December 2020 (UTC)<br /> ===Terms and expressions===<br /> Lingo: 林戈<br /> Putonghua: 普通话<br /> Await student:等待学生<br /> Pinyin: 等待学生<br /> Lofty: 崇高：<br /> Vernacular: 白话：<br /> Swine: 猪：<br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:40, 12 December 2020 (UTC)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:02, 13 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=111611 2020-12-13T13:44:19Z

<p>Sagara Seydou 3: /* Introduction */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==Landscape, The Ancient Tea Horse Road - Lei Fangyuan 雷方圆==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.(Baidu Baike)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> <br /> 2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.((Baidu Baike)<br /> <br /> 3. the ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.(Baidu Baike)<br /> <br /> 4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.(Baidu Baike)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. <br /> <br /> Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.<br /> <br /> Shanxi- Tibet tea horse road (wade ancient road), was formed in the Han dynasty through the efforts of the Shanxi merchants and the ancient southwest border tea and horse. During the Ming and Qing dynasties, the government controlled tea traffickin along the tea trafficking sub-region, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:02, 7 December 2020 (UTC)Li Lili<br /> <br /> ====Historical Value====<br /> The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.(Baidu Baike)<br /> <br /> 1.The Golden Road of Tourism<br /> <br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.(Baidu Baike)<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> <br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Baidu Baike)<br /> <br /> 3.Migration Corridor of National Cultures<br /> <br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.(Baidu Baike)<br /> <br /> 4.Religious Propagation Road<br /> <br /> With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.(Baidu Baike)<br /> <br /> 5. The Path of National Spirituality<br /> <br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Baidu Baike)<br /> 6.The Road of National Unity and Integration<br /> <br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.(Baidu Baike)<br /> <br /> 7.The Road of Securing the Borders<br /> <br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.(Baidu Baike)<br /> <br /> 8.The road to economic development<br /> <br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Baidu Baike)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 03:42, 29 November 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?<br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> The Chinese text rooted in Baidu Baike. The website as following:https://baike.baidu.com.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:15, 8 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Puppets - Li Lili 李丽丽==<br /> ===Shadow Puppets Li Lili No.202070080594===<br /> ====The Origin of Shadow Play====<br /> Shadow play has a history of more than 2000 years from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid. So he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story written in Hanshu is considered to be the earliest origin of shadow play. There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development in Bianjing of the Northern Song Dynasty is closely related to Bianjing’s superior geographical environment, the development of commodity trade and commercial transportation at that time.(Wei Liqun 2018,13-14)<br /> <br /> ====Introduction====<br /> More than 2,000 years ago, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks” , “waving a sword and a spear, ” or even “smoking ”by puppeteer holding and moving manipulating rods on its body. Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc.(Wang Yexia 2012,1-3)<br /> <br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. The “head” is the most important part of a shadow puppet and its total component number is about four times that of the “body”. A shadow puppet’s “head”. And the “body” can be mixed and matched with each other. (Wang Yexia 2012,29-33)<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged person are short beard, but the elderly man are long beard. The decorative designs on the shadow puppets are very important and match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character. The black is a sign of a just, honest and selfless personality. The yellow shows a brave and irascible character, also are used in fantasy plays to represent people with magic power. To make a shadow puppet move flexibly, a complete figure often has many components such as a head, a chest,a belly, two legs, two arms, two elbows, two hands. (Wang Yexia 2012,9-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to work. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. After the end of the &quot;Cultural Revolution&quot;, shadow puppet art recovered rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation of the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.<br /> <br /> ===References：===<br /> 王业霞 《皮影戏》 北京：高等教育出版社 2012 Wang Yexia [Shadow Play] Beijing: [Higher Education Publishing House] 2012<br /> <br /> 魏力群 《小书大传承-皮影》 重庆：重庆出版社 2018 Wei Liqun [&quot;Small Book, Big Heritage - Shadow Play&quot;] Chongqing: [Chongqing Publishing House] 2018<br /> <br /> 朱恒夫 中国皮影戏的历史，现状与剧目特征[J] 浙江艺术职业学院学报 2020(18) Zhu [Hengfu The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre][J] [Journal of Zhejiang Arts Vocational College] 2020(18)<br /> <br /> ===Words and Expressions===<br /> shadow puppet皮影戏 <br /> paper cutting 剪纸<br /> ventriloquism 口技<br /> manipulating rod 操纵杆<br /> five facial features 五官<br /> sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> Cultural Revolution 文化大革命<br /> intangible cultural heritage 非物质文化遗产<br /> <br /> <br /> ===Questions===<br /> 1.When is the earliest shadow puppet’s record?<br /> <br /> 2.What art of forms do shadow play use?<br /> <br /> 3. What does a red head stand for in a play?<br /> <br /> 4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> <br /> ===Answers===<br /> 1.Song dynasty.<br /> <br /> 2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> <br /> 3.The red is symbol of a heroic and upstanding character.<br /> <br /> 4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴==<br /> <br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. <br /> <br /> However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. <br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; (Li Xiaoyu 2010, 33) the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. (Tan Su 2012, 68) &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society.<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization.<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. (Li Chengzong 2002, 67) On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. <br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. (Wang Jie 2004, 82-83) Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves.<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83) <br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication.<br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. <br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. <br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. <br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. <br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. <br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House.<br /> <br /> ==Ch'ien Chung-shu Liu Liu 刘柳， 202070080596==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:00, 13 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ===相声 Cross Talk===<br /> <br /> ===The History of Cross Talk===<br /> <br /> Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate other's voices, also known as neighboring cross talk. It was evolved and further developed from the folk music in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng （1850—1861）and Emperor Tongzhi（1861—1874）period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 06:33, 23 November 2020 (UTC)<br /> <br /> ===Famous Artists of Cross Talk===<br /> <br /> ===Answers===<br /> ===References===<br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.<br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded. Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular. The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Cho Chikun (1997). Go: A Complete Introduction to the Game. Tokyo: Kiseido Publishers. ISBN 978-4-906574-50-6.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> [6]百度百科：围棋<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.” History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. (Fan Jinshi 2010，170)The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. <br /> <br /> After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96.( Fan Jinshi 2010, 175) In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting. <br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University兰州大学.<br /> <br /> MA Shichang.(2010).Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang.MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].中原文物 Cultural Relics in Central Plain,No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-level Cultural Relics Luo Weijia罗维嘉 Student No.202070080600==<br /> <br /> ===Four State-level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.<br /> <br /> ====Houmuwu Ding====<br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority. For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment.<br /> <br /> Simuwu Ding,or Houmuwu Ding, was a very precious cultural relic, found in 1937 in Anyang of Henan Province (Zhang Peng:86-89).It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing. <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices. <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Zhang Peng:86-89).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties.<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound.<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum(Gao Nan:29). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg (Gao Nan:29). It is extremely rare tosee a set with so many bells of such weight and size. <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen:1-2). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music. <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”.<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread.<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen:38-39). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen:38-39). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure.<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian:10-11). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers. <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum.<br /> <br /> ===Terms and Expressions===<br /> <br /> Houmuwu Ding 后母戊鼎<br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> [1]Zhang Peng 张鹏.(2020).青铜大师杜廼松:“司母戊鼎”名称不容置疑[No Doubt about the Name of Simuwu Ding].中国民族博览 (09):86-89.<br /> <br /> [2]Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi].文史知识 (11):1-2.<br /> <br /> [3]Gao Nan 高楠.(2020).音乐中的国家宝藏——曾侯乙编钟[National Treasure in Music].琴童 (01):29.<br /> <br /> [4]Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 [The Study of Jade Suit with Gold Thread Unearthed in Mancheng].文物鉴定与鉴赏 (03):38-39.<br /> <br /> [5]Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Sculpture ——the Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> == The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panaroma view of the Forbidden City.jpg|300px|thumb|left|A Panaroma view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.<br /> <br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper.<br /> After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Chinese Clothing== Phyo, Su Kyi, Student No-20191108000<br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.“Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press,2016.<br /> <br /> <br /> 2.Mei Hua, `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress2010<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> <br /> ===Chinese Traditional women clothing===<br /> <br /> ===1- History of Chinese clothing===<br /> <br /> History of Chinese clothing China has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization.<br /> <br /> ===A- Chinese Clothing during Qin and Han Dynasties (221 B.C - 220 A.D)===<br /> <br /> The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established many social systems, including one for uniforms to distinguish people's ranks and social positions. China's complete code of costume and trappings was established in the Han Dynasty (206BC-220AD). The yarn-dyeing, embroidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.<br /> <br /> ===B-Chinese Clothing during Wei,Jin, South and North Dynasties(220-589)===<br /> <br /> Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589). Before 265, the cultures and esthetic views of the peoples in north and south China merged because of the moves initiated by frequent wars. Many philosophical schools of thought influenced both people's lives and the conceptions of clothing design.<br /> <br /> ===C- Chinese Clothing during Tang Dynasty(618-907)===<br /> <br /> The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.<br /> <br /> ===D-Chinese Clothing during Song, Yuan, Ming Dynasties===<br /> <br /> Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and elegant.During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the People on Horseback, was in power. The style of clothing was mainly a combination of Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in design.Dramatic changes took place during the Ming Dynasty (1368-1644). A new conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.<br /> <br /> ===E- Chinese Clothing during Qing Dynasty===<br /> <br /> During the Qing Dynasty (1644-1911), clothes became elegant, poised, and glorious. During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious heritage for traditional Chinese clothes.<br /> <br /> ===F-Chinese Clothing from 1930s till Modern Era===<br /> <br /> Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to 1960s, Qipao(Cheongsam) survives as everyday wear in Hong Kong until the late 1960s. <br /> <br /> ===Terms and Expressions=== <br /> <br /> ===Questions=== <br /> <br /> ===References===.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 17:37, 25 November 2020 (UTC)Phyo Su Kyi<br /> <br /> ===Answers===<br /> <br /> ===References===--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 04:45, 13 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604==<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore, drinking vessels as part of the liquor culture also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康 <br /> 2.Chinese Dionysus 中国酒神<br /> 3.husked sorghum rice 秫米饭 <br /> 4.Baishui 白水县（陕西渭南市辖县） <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县） <br /> 6.fermented wine 发酵酒<br /> 7.Distilled liquor 蒸馏酒 <br /> 8.Yellow rice wine 黄酒<br /> 9.Shaoxing Wine 绍兴酒 <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> 11.Mellow Wine 醇香酒 <br /> 12.Dongwu Rice Wine 东吴老酒<br /> 13.Liquor and Spirits 白酒 <br /> 14.Kweichow Moutai 贵州茅台<br /> 15.sauce-flavor type 酱香型 <br /> 16.light flavor type 清香型 <br /> 17.strong flavor type 浓香型 <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> 19.the Peiligang culture period裴李岗文化时期 <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> 21.Zun 樽 <br /> 22.injection vessel and bowl 注子和注碗<br /> 23.drinking order 行酒令<br /> <br /> ====Questions====<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> China Railway High-Speed ​​(CRH) is a high-speed rail service operated by the China Railway. The introduction of the CRH series was an important part of the 6th National Rail Acceleration, which took place on April 18, 2007. By the end of 2018, China Railway High Speed ​​served all provinces in China except Taiwan and covered over 29,000 km. (18,000 miles) the length of passenger routes, which make up about two-thirds of the world's high-speed rail routes served by commercial enterprises. It is the most widely used rail transport in the world, with 1.713 billion flights in 2017, bringing the total cumulative number of flights to 7 billion. More than 1000 sets of rolling stock are operated under the CRH brand, including the Hexie CRH1 / 2A / 5, which are rated for a top speed of 250 km / h (160 mph), and the CRH2C / 3 has a top speed of 350 km / h. ( 220 mph). The in-house developed CRH380A has a maximum test speed of 416.6 km / h (258.9 mph) at a commercial speed of 350 km / h.The fastest CRH380BL train reaches a maximum test speed of 487.3 km / h (302.8 mph) ). In 2017, China Standardized EMU brand, including CR400AF / BF and CR200J, joined China Railway High Speed ​​and is designated Fuxing along with the letters CR (China Railway). With gradual planning, the CR brand will replace the existing CRH brand in service. Depending on the speed, there are 3 categories of high-speed trains: G, D and C (G and some C are the fastest at 350 km / h, D at 250 km / h and C at 200 km / h). <br /> High speed rail network. <br /> High speed rail services were first introduced in 2007 on CRH rolling stock. They operate on existing lines that have been upgraded to speeds of up to 250 km / h (160 mph), and on newer dedicated high-speed routes rated up to 350 km / h (220 mph). <br /> CRH service on dedicated high-speed lines<br /> <br /> ===Answers===<br /> <br /> ===References===<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004==<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic, and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between these dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019, 124)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:36, 13 December 2020 (UTC)[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:05, 13 December 2020 (UTC)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:23, 13 December 2020 (UTC)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:30, 13 December 2020 (UTC)<br /> <br /> ==Ancient Chinese and Modern Chine ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128) <br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusively,==<br /> Today an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)----[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:32, 13 December 2020 (UTC)<br /> ===Terms and expressions===<br /> Lingo: 林戈<br /> Putonghua: 普通话<br /> Await student:等待学生<br /> Pinyin: 等待学生<br /> Lofty: 崇高：<br /> Vernacular: 白话：<br /> Swine: 猪：<br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:40, 12 December 2020 (UTC)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:02, 13 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=111599 2020-12-13T13:38:19Z

<p>Sagara Seydou 3: /* Language, The Chinese Language - Seydou, Sagara, student No:201911080004 */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==Landscape, The Ancient Tea Horse Road - Lei Fangyuan 雷方圆==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.(Baidu Baike)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> <br /> 2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.((Baidu Baike)<br /> <br /> 3. the ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.(Baidu Baike)<br /> <br /> 4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.(Baidu Baike)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. <br /> <br /> Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.<br /> <br /> Shanxi- Tibet tea horse road (wade ancient road), was formed in the Han dynasty through the efforts of the Shanxi merchants and the ancient southwest border tea and horse. During the Ming and Qing dynasties, the government controlled tea traffickin along the tea trafficking sub-region, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:02, 7 December 2020 (UTC)Li Lili<br /> <br /> ====Historical Value====<br /> The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.(Baidu Baike)<br /> <br /> 1.The Golden Road of Tourism<br /> <br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.(Baidu Baike)<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> <br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Baidu Baike)<br /> <br /> 3.Migration Corridor of National Cultures<br /> <br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.(Baidu Baike)<br /> <br /> 4.Religious Propagation Road<br /> <br /> With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.(Baidu Baike)<br /> <br /> 5. The Path of National Spirituality<br /> <br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Baidu Baike)<br /> 6.The Road of National Unity and Integration<br /> <br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.(Baidu Baike)<br /> <br /> 7.The Road of Securing the Borders<br /> <br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.(Baidu Baike)<br /> <br /> 8.The road to economic development<br /> <br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Baidu Baike)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 03:42, 29 November 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?<br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> The Chinese text rooted in Baidu Baike. The website as following:https://baike.baidu.com.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:15, 8 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Puppets - Li Lili 李丽丽==<br /> ===Shadow Puppets Li Lili No.202070080594===<br /> ====The Origin of Shadow Play====<br /> Shadow play has a history of more than 2000 years from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid. So he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story written in Hanshu is considered to be the earliest origin of shadow play. There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development in Bianjing of the Northern Song Dynasty is closely related to Bianjing’s superior geographical environment, the development of commodity trade and commercial transportation at that time.(Wei Liqun 2018,13-14)<br /> <br /> ====Introduction====<br /> More than 2,000 years ago, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks” , “waving a sword and a spear, ” or even “smoking ”by puppeteer holding and moving manipulating rods on its body. Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc.(Wang Yexia 2012,1-3)<br /> <br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. The “head” is the most important part of a shadow puppet and its total component number is about four times that of the “body”. A shadow puppet’s “head”. And the “body” can be mixed and matched with each other. (Wang Yexia 2012,29-33)<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged person are short beard, but the elderly man are long beard. The decorative designs on the shadow puppets are very important and match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character. The black is a sign of a just, honest and selfless personality. The yellow shows a brave and irascible character, also are used in fantasy plays to represent people with magic power. To make a shadow puppet move flexibly, a complete figure often has many components such as a head, a chest,a belly, two legs, two arms, two elbows, two hands. (Wang Yexia 2012,9-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to work. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. After the end of the &quot;Cultural Revolution&quot;, shadow puppet art recovered rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation of the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.<br /> <br /> ===References：===<br /> 王业霞 《皮影戏》 北京：高等教育出版社 2012 Wang Yexia [Shadow Play] Beijing: [Higher Education Publishing House] 2012<br /> <br /> 魏力群 《小书大传承-皮影》 重庆：重庆出版社 2018 Wei Liqun [&quot;Small Book, Big Heritage - Shadow Play&quot;] Chongqing: [Chongqing Publishing House] 2018<br /> <br /> 朱恒夫 中国皮影戏的历史，现状与剧目特征[J] 浙江艺术职业学院学报 2020(18) Zhu [Hengfu The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre][J] [Journal of Zhejiang Arts Vocational College] 2020(18)<br /> <br /> ===Words and Expressions===<br /> shadow puppet皮影戏 <br /> paper cutting 剪纸<br /> ventriloquism 口技<br /> manipulating rod 操纵杆<br /> five facial features 五官<br /> sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> Cultural Revolution 文化大革命<br /> intangible cultural heritage 非物质文化遗产<br /> <br /> <br /> ===Questions===<br /> 1.When is the earliest shadow puppet’s record?<br /> <br /> 2.What art of forms do shadow play use?<br /> <br /> 3. What does a red head stand for in a play?<br /> <br /> 4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> <br /> ===Answers===<br /> 1.Song dynasty.<br /> <br /> 2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> <br /> 3.The red is symbol of a heroic and upstanding character.<br /> <br /> 4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴==<br /> <br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. <br /> <br /> However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. <br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; (Li Xiaoyu 2010, 33) the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. (Tan Su 2012, 68) &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society.<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization.<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. (Li Chengzong 2002, 67) On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. <br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. (Wang Jie 2004, 82-83) Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves.<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83) <br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication.<br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. <br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. <br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. <br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. <br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. <br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House.<br /> <br /> ==Ch'ien Chung-shu Liu Liu 刘柳， 202070080596==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:00, 13 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ===相声 Cross Talk===<br /> <br /> ===The History of Cross Talk===<br /> <br /> Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate other's voices, also known as neighboring cross talk. It was evolved and further developed from the folk music in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng （1850—1861）and Emperor Tongzhi（1861—1874）period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 06:33, 23 November 2020 (UTC)<br /> <br /> ===Famous Artists of Cross Talk===<br /> <br /> ===Answers===<br /> ===References===<br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.<br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded. Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular. The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Cho Chikun (1997). Go: A Complete Introduction to the Game. Tokyo: Kiseido Publishers. ISBN 978-4-906574-50-6.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> [6]百度百科：围棋<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.” History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. (Fan Jinshi 2010，170)The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. <br /> <br /> After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96.( Fan Jinshi 2010, 175) In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting. <br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University兰州大学.<br /> <br /> MA Shichang.(2010).Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang.MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].中原文物 Cultural Relics in Central Plain,No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-level Cultural Relics Luo Weijia罗维嘉 Student No.202070080600==<br /> <br /> ===Four State-level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.<br /> <br /> ====Houmuwu Ding====<br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority. For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment.<br /> <br /> Simuwu Ding,or Houmuwu Ding, was a very precious cultural relic, found in 1937 in Anyang of Henan Province (Zhang Peng:86-89).It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing. <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices. <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Zhang Peng:86-89).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties.<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound.<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum(Gao Nan:29). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg (Gao Nan:29). It is extremely rare tosee a set with so many bells of such weight and size. <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen:1-2). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music. <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”.<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread.<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen:38-39). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen:38-39). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure.<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian:10-11). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers. <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum.<br /> <br /> ===Terms and Expressions===<br /> <br /> Houmuwu Ding 后母戊鼎<br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> [1]Zhang Peng 张鹏.(2020).青铜大师杜廼松:“司母戊鼎”名称不容置疑[No Doubt about the Name of Simuwu Ding].中国民族博览 (09):86-89.<br /> <br /> [2]Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi].文史知识 (11):1-2.<br /> <br /> [3]Gao Nan 高楠.(2020).音乐中的国家宝藏——曾侯乙编钟[National Treasure in Music].琴童 (01):29.<br /> <br /> [4]Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 [The Study of Jade Suit with Gold Thread Unearthed in Mancheng].文物鉴定与鉴赏 (03):38-39.<br /> <br /> [5]Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Sculpture ——the Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> == The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panaroma view of the Forbidden City.jpg|300px|thumb|left|A Panaroma view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.<br /> <br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper.<br /> After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Chinese Clothing== Phyo, Su Kyi, Student No-20191108000<br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.“Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press,2016.<br /> <br /> <br /> 2.Mei Hua, `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress2010<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> <br /> ===Chinese Traditional women clothing===<br /> <br /> ===1- History of Chinese clothing===<br /> <br /> History of Chinese clothing China has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization.<br /> <br /> ===A- Chinese Clothing during Qin and Han Dynasties (221 B.C - 220 A.D)===<br /> <br /> The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established many social systems, including one for uniforms to distinguish people's ranks and social positions. China's complete code of costume and trappings was established in the Han Dynasty (206BC-220AD). The yarn-dyeing, embroidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.<br /> <br /> ===B-Chinese Clothing during Wei,Jin, South and North Dynasties(220-589)===<br /> <br /> Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589). Before 265, the cultures and esthetic views of the peoples in north and south China merged because of the moves initiated by frequent wars. Many philosophical schools of thought influenced both people's lives and the conceptions of clothing design.<br /> <br /> ===C- Chinese Clothing during Tang Dynasty(618-907)===<br /> <br /> The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.<br /> <br /> ===D-Chinese Clothing during Song, Yuan, Ming Dynasties===<br /> <br /> Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and elegant.During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the People on Horseback, was in power. The style of clothing was mainly a combination of Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in design.Dramatic changes took place during the Ming Dynasty (1368-1644). A new conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.<br /> <br /> ===E- Chinese Clothing during Qing Dynasty===<br /> <br /> During the Qing Dynasty (1644-1911), clothes became elegant, poised, and glorious. During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious heritage for traditional Chinese clothes.<br /> <br /> ===F-Chinese Clothing from 1930s till Modern Era===<br /> <br /> Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to 1960s, Qipao(Cheongsam) survives as everyday wear in Hong Kong until the late 1960s. <br /> <br /> ===Terms and Expressions=== <br /> <br /> ===Questions=== <br /> <br /> ===References===.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 17:37, 25 November 2020 (UTC)Phyo Su Kyi<br /> <br /> ===Answers===<br /> <br /> ===References===--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 04:45, 13 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604==<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore, drinking vessels as part of the liquor culture also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康 <br /> 2.Chinese Dionysus 中国酒神<br /> 3.husked sorghum rice 秫米饭 <br /> 4.Baishui 白水县（陕西渭南市辖县） <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县） <br /> 6.fermented wine 发酵酒<br /> 7.Distilled liquor 蒸馏酒 <br /> 8.Yellow rice wine 黄酒<br /> 9.Shaoxing Wine 绍兴酒 <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> 11.Mellow Wine 醇香酒 <br /> 12.Dongwu Rice Wine 东吴老酒<br /> 13.Liquor and Spirits 白酒 <br /> 14.Kweichow Moutai 贵州茅台<br /> 15.sauce-flavor type 酱香型 <br /> 16.light flavor type 清香型 <br /> 17.strong flavor type 浓香型 <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> 19.the Peiligang culture period裴李岗文化时期 <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> 21.Zun 樽 <br /> 22.injection vessel and bowl 注子和注碗<br /> 23.drinking order 行酒令<br /> <br /> ====Questions====<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> China Railway High-Speed ​​(CRH) is a high-speed rail service operated by the China Railway. The introduction of the CRH series was an important part of the 6th National Rail Acceleration, which took place on April 18, 2007. By the end of 2018, China Railway High Speed ​​served all provinces in China except Taiwan and covered over 29,000 km. (18,000 miles) the length of passenger routes, which make up about two-thirds of the world's high-speed rail routes served by commercial enterprises. It is the most widely used rail transport in the world, with 1.713 billion flights in 2017, bringing the total cumulative number of flights to 7 billion. More than 1000 sets of rolling stock are operated under the CRH brand, including the Hexie CRH1 / 2A / 5, which are rated for a top speed of 250 km / h (160 mph), and the CRH2C / 3 has a top speed of 350 km / h. ( 220 mph). The in-house developed CRH380A has a maximum test speed of 416.6 km / h (258.9 mph) at a commercial speed of 350 km / h.The fastest CRH380BL train reaches a maximum test speed of 487.3 km / h (302.8 mph) ). In 2017, China Standardized EMU brand, including CR400AF / BF and CR200J, joined China Railway High Speed ​​and is designated Fuxing along with the letters CR (China Railway). With gradual planning, the CR brand will replace the existing CRH brand in service. Depending on the speed, there are 3 categories of high-speed trains: G, D and C (G and some C are the fastest at 350 km / h, D at 250 km / h and C at 200 km / h). <br /> High speed rail network. <br /> High speed rail services were first introduced in 2007 on CRH rolling stock. They operate on existing lines that have been upgraded to speeds of up to 250 km / h (160 mph), and on newer dedicated high-speed routes rated up to 350 km / h (220 mph). <br /> CRH service on dedicated high-speed lines<br /> <br /> ===Answers===<br /> <br /> ===References===<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004==<br /> ===Introduction===<br /> Chinese is a very big country with large population, multi-ethnic, and multi-lingual. Each may have its own lingo, or dialects. There are great differences between these dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019, 124)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:36, 13 December 2020 (UTC)[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:05, 13 December 2020 (UTC)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:23, 13 December 2020 (UTC)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:30, 13 December 2020 (UTC)<br /> <br /> ==Ancient Chinese and Modern Chine ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128) <br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusively,==<br /> Today an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)----[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:32, 13 December 2020 (UTC)<br /> ===Terms and expressions===<br /> Lingo: 林戈<br /> Putonghua: 普通话<br /> Await student:等待学生<br /> Pinyin: 等待学生<br /> Lofty: 崇高：<br /> Vernacular: 白话：<br /> Swine: 猪：<br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:40, 12 December 2020 (UTC)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:02, 13 December 2020 (UTC)</div>

Sagara Seydou 3 https://bou.de/u/index.php?title=20201215_cultexam_2&diff=111594 2020-12-13T13:36:08Z

<p>Sagara Seydou 3: /* Introduction */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==Landscape, The Ancient Tea Horse Road - Lei Fangyuan 雷方圆==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.(Baidu Baike)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> <br /> 2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.((Baidu Baike)<br /> <br /> 3. the ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.(Baidu Baike)<br /> <br /> 4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.(Baidu Baike)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. <br /> <br /> Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.<br /> <br /> Shanxi- Tibet tea horse road (wade ancient road), was formed in the Han dynasty through the efforts of the Shanxi merchants and the ancient southwest border tea and horse. During the Ming and Qing dynasties, the government controlled tea traffickin along the tea trafficking sub-region, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:02, 7 December 2020 (UTC)Li Lili<br /> <br /> ====Historical Value====<br /> The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.(Baidu Baike)<br /> <br /> 1.The Golden Road of Tourism<br /> <br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.(Baidu Baike)<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> <br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Baidu Baike)<br /> <br /> 3.Migration Corridor of National Cultures<br /> <br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.(Baidu Baike)<br /> <br /> 4.Religious Propagation Road<br /> <br /> With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.(Baidu Baike)<br /> <br /> 5. The Path of National Spirituality<br /> <br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Baidu Baike)<br /> 6.The Road of National Unity and Integration<br /> <br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.(Baidu Baike)<br /> <br /> 7.The Road of Securing the Borders<br /> <br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.(Baidu Baike)<br /> <br /> 8.The road to economic development<br /> <br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Baidu Baike)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 03:42, 29 November 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?<br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> The Chinese text rooted in Baidu Baike. The website as following:https://baike.baidu.com.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:15, 8 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Puppets - Li Lili 李丽丽==<br /> ===Shadow Puppets Li Lili No.202070080594===<br /> ====The Origin of Shadow Play====<br /> Shadow play has a history of more than 2000 years from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid. So he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story written in Hanshu is considered to be the earliest origin of shadow play. There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development in Bianjing of the Northern Song Dynasty is closely related to Bianjing’s superior geographical environment, the development of commodity trade and commercial transportation at that time.(Wei Liqun 2018,13-14)<br /> <br /> ====Introduction====<br /> More than 2,000 years ago, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks” , “waving a sword and a spear, ” or even “smoking ”by puppeteer holding and moving manipulating rods on its body. Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc.(Wang Yexia 2012,1-3)<br /> <br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. The “head” is the most important part of a shadow puppet and its total component number is about four times that of the “body”. A shadow puppet’s “head”. And the “body” can be mixed and matched with each other. (Wang Yexia 2012,29-33)<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged person are short beard, but the elderly man are long beard. The decorative designs on the shadow puppets are very important and match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character. The black is a sign of a just, honest and selfless personality. The yellow shows a brave and irascible character, also are used in fantasy plays to represent people with magic power. To make a shadow puppet move flexibly, a complete figure often has many components such as a head, a chest,a belly, two legs, two arms, two elbows, two hands. (Wang Yexia 2012,9-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to work. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. After the end of the &quot;Cultural Revolution&quot;, shadow puppet art recovered rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation of the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.<br /> <br /> ===References：===<br /> 王业霞 《皮影戏》 北京：高等教育出版社 2012 Wang Yexia [Shadow Play] Beijing: [Higher Education Publishing House] 2012<br /> <br /> 魏力群 《小书大传承-皮影》 重庆：重庆出版社 2018 Wei Liqun [&quot;Small Book, Big Heritage - Shadow Play&quot;] Chongqing: [Chongqing Publishing House] 2018<br /> <br /> 朱恒夫 中国皮影戏的历史，现状与剧目特征[J] 浙江艺术职业学院学报 2020(18) Zhu [Hengfu The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre][J] [Journal of Zhejiang Arts Vocational College] 2020(18)<br /> <br /> ===Words and Expressions===<br /> shadow puppet皮影戏 <br /> paper cutting 剪纸<br /> ventriloquism 口技<br /> manipulating rod 操纵杆<br /> five facial features 五官<br /> sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> Cultural Revolution 文化大革命<br /> intangible cultural heritage 非物质文化遗产<br /> <br /> <br /> ===Questions===<br /> 1.When is the earliest shadow puppet’s record?<br /> <br /> 2.What art of forms do shadow play use?<br /> <br /> 3. What does a red head stand for in a play?<br /> <br /> 4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> <br /> ===Answers===<br /> 1.Song dynasty.<br /> <br /> 2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> <br /> 3.The red is symbol of a heroic and upstanding character.<br /> <br /> 4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴==<br /> <br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. <br /> <br /> However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. <br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; (Li Xiaoyu 2010, 33) the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. (Tan Su 2012, 68) &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society.<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization.<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. (Li Chengzong 2002, 67) On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. <br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. (Wang Jie 2004, 82-83) Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves.<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83) <br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication.<br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. <br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. <br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. <br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. <br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. <br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House.<br /> <br /> ==Ch'ien Chung-shu Liu Liu 刘柳， 202070080596==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:00, 13 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ===相声 Cross Talk===<br /> <br /> ===The History of Cross Talk===<br /> <br /> Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate other's voices, also known as neighboring cross talk. It was evolved and further developed from the folk music in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng （1850—1861）and Emperor Tongzhi（1861—1874）period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 06:33, 23 November 2020 (UTC)<br /> <br /> ===Famous Artists of Cross Talk===<br /> <br /> ===Answers===<br /> ===References===<br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.<br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded. Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular. The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Cho Chikun (1997). Go: A Complete Introduction to the Game. Tokyo: Kiseido Publishers. ISBN 978-4-906574-50-6.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> [6]百度百科：围棋<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.” History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. (Fan Jinshi 2010，170)The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. <br /> <br /> After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96.( Fan Jinshi 2010, 175) In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting. <br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University兰州大学.<br /> <br /> MA Shichang.(2010).Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang.MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].中原文物 Cultural Relics in Central Plain,No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-level Cultural Relics Luo Weijia罗维嘉 Student No.202070080600==<br /> <br /> ===Four State-level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.<br /> <br /> ====Houmuwu Ding====<br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority. For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment.<br /> <br /> Simuwu Ding,or Houmuwu Ding, was a very precious cultural relic, found in 1937 in Anyang of Henan Province (Zhang Peng:86-89).It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing. <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices. <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Zhang Peng:86-89).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties.<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound.<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum(Gao Nan:29). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg (Gao Nan:29). It is extremely rare tosee a set with so many bells of such weight and size. <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen:1-2). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music. <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”.<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread.<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen:38-39). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen:38-39). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure.<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian:10-11). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers. <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum.<br /> <br /> ===Terms and Expressions===<br /> <br /> Houmuwu Ding 后母戊鼎<br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> [1]Zhang Peng 张鹏.(2020).青铜大师杜廼松:“司母戊鼎”名称不容置疑[No Doubt about the Name of Simuwu Ding].中国民族博览 (09):86-89.<br /> <br /> [2]Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi].文史知识 (11):1-2.<br /> <br /> [3]Gao Nan 高楠.(2020).音乐中的国家宝藏——曾侯乙编钟[National Treasure in Music].琴童 (01):29.<br /> <br /> [4]Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 [The Study of Jade Suit with Gold Thread Unearthed in Mancheng].文物鉴定与鉴赏 (03):38-39.<br /> <br /> [5]Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Sculpture ——the Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> == The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panaroma view of the Forbidden City.jpg|300px|thumb|left|A Panaroma view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.<br /> <br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper.<br /> After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Chinese Clothing== Phyo, Su Kyi, Student No-20191108000<br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.“Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press,2016.<br /> <br /> <br /> 2.Mei Hua, `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress2010<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> <br /> ===Chinese Traditional women clothing===<br /> <br /> ===1- History of Chinese clothing===<br /> <br /> History of Chinese clothing China has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization.<br /> <br /> ===A- Chinese Clothing during Qin and Han Dynasties (221 B.C - 220 A.D)===<br /> <br /> The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established many social systems, including one for uniforms to distinguish people's ranks and social positions. China's complete code of costume and trappings was established in the Han Dynasty (206BC-220AD). The yarn-dyeing, embroidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.<br /> <br /> ===B-Chinese Clothing during Wei,Jin, South and North Dynasties(220-589)===<br /> <br /> Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589). Before 265, the cultures and esthetic views of the peoples in north and south China merged because of the moves initiated by frequent wars. Many philosophical schools of thought influenced both people's lives and the conceptions of clothing design.<br /> <br /> ===C- Chinese Clothing during Tang Dynasty(618-907)===<br /> <br /> The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.<br /> <br /> ===D-Chinese Clothing during Song, Yuan, Ming Dynasties===<br /> <br /> Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and elegant.During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the People on Horseback, was in power. The style of clothing was mainly a combination of Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in design.Dramatic changes took place during the Ming Dynasty (1368-1644). A new conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.<br /> <br /> ===E- Chinese Clothing during Qing Dynasty===<br /> <br /> During the Qing Dynasty (1644-1911), clothes became elegant, poised, and glorious. During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious heritage for traditional Chinese clothes.<br /> <br /> ===F-Chinese Clothing from 1930s till Modern Era===<br /> <br /> Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to 1960s, Qipao(Cheongsam) survives as everyday wear in Hong Kong until the late 1960s. <br /> <br /> ===Terms and Expressions=== <br /> <br /> ===Questions=== <br /> <br /> ===References===.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 17:37, 25 November 2020 (UTC)Phyo Su Kyi<br /> <br /> ===Answers===<br /> <br /> ===References===--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 04:45, 13 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604==<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore, drinking vessels as part of the liquor culture also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康 <br /> 2.Chinese Dionysus 中国酒神<br /> 3.husked sorghum rice 秫米饭 <br /> 4.Baishui 白水县（陕西渭南市辖县） <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县） <br /> 6.fermented wine 发酵酒<br /> 7.Distilled liquor 蒸馏酒 <br /> 8.Yellow rice wine 黄酒<br /> 9.Shaoxing Wine 绍兴酒 <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> 11.Mellow Wine 醇香酒 <br /> 12.Dongwu Rice Wine 东吴老酒<br /> 13.Liquor and Spirits 白酒 <br /> 14.Kweichow Moutai 贵州茅台<br /> 15.sauce-flavor type 酱香型 <br /> 16.light flavor type 清香型 <br /> 17.strong flavor type 浓香型 <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> 19.the Peiligang culture period裴李岗文化时期 <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> 21.Zun 樽 <br /> 22.injection vessel and bowl 注子和注碗<br /> 23.drinking order 行酒令<br /> <br /> ====Questions====<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> China Railway High-Speed ​​(CRH) is a high-speed rail service operated by the China Railway. The introduction of the CRH series was an important part of the 6th National Rail Acceleration, which took place on April 18, 2007. By the end of 2018, China Railway High Speed ​​served all provinces in China except Taiwan and covered over 29,000 km. (18,000 miles) the length of passenger routes, which make up about two-thirds of the world's high-speed rail routes served by commercial enterprises. It is the most widely used rail transport in the world, with 1.713 billion flights in 2017, bringing the total cumulative number of flights to 7 billion. More than 1000 sets of rolling stock are operated under the CRH brand, including the Hexie CRH1 / 2A / 5, which are rated for a top speed of 250 km / h (160 mph), and the CRH2C / 3 has a top speed of 350 km / h. ( 220 mph). The in-house developed CRH380A has a maximum test speed of 416.6 km / h (258.9 mph) at a commercial speed of 350 km / h.The fastest CRH380BL train reaches a maximum test speed of 487.3 km / h (302.8 mph) ). In 2017, China Standardized EMU brand, including CR400AF / BF and CR200J, joined China Railway High Speed ​​and is designated Fuxing along with the letters CR (China Railway). With gradual planning, the CR brand will replace the existing CRH brand in service. Depending on the speed, there are 3 categories of high-speed trains: G, D and C (G and some C are the fastest at 350 km / h, D at 250 km / h and C at 200 km / h). <br /> High speed rail network. <br /> High speed rail services were first introduced in 2007 on CRH rolling stock. They operate on existing lines that have been upgraded to speeds of up to 250 km / h (160 mph), and on newer dedicated high-speed routes rated up to 350 km / h (220 mph). <br /> CRH service on dedicated high-speed lines<br /> <br /> ===Answers===<br /> <br /> ===References===<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, student No:201911080004==<br /> ===Introduction===<br /> Chinese is a very big country with large population, multi-ethnic, and multi-lingual. Each may have its own lingo, or dialects. There are great differences between these dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019, 124)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:36, 13 December 2020 (UTC)[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:05, 13 December 2020 (UTC)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:23, 13 December 2020 (UTC)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:30, 13 December 2020 (UTC)<br /> <br /> ==Ancient Chinese and Modern Chine ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128) <br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusively,==<br /> Today an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)----[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:32, 13 December 2020 (UTC)<br /> ===Terms and expressions===<br /> Lingo: 林戈<br /> Putonghua: 普通话<br /> Await student:等待学生<br /> Pinyin: 等待学生<br /> Lofty: 崇高：<br /> Vernacular: 白话：<br /> Swine: 猪：<br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:40, 12 December 2020 (UTC)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:02, 13 December 2020 (UTC)</div>

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